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[ "EXT. CITY STREET - DAY Downtown L.A. Noon on a hot summer day. On an EXTREME LONG LENS the lunchtime crowd stacks up into a wall of humanity. In SLOW MOTION they move in herds among the glittering rows of cars jammed bumper to bumper. Heat ripples distort the torrent of faces. The image is surreal, dreamy. and like a dream it begins very slowly to", "EXT. CITY RUINS - NIGHT Same spot as the last shot, but now it is a landscape in Hell. The cars are stopped in rusted rows, still bumper to bumper. The skyline of buildings beyond has been shattered by some unimaginable force like a row of kicked - down sandcastles. Wind blows through the desolation, keening with the sound of ten million dead souls. It scurries the ashes into drifts, stark white in the moonlight against the charred rubble. LOS ANGELES, July 11, 2029. ANGLE ON a heap of fire - blackened human bones. Beyond the mound is a vast tundra of skulls and shattered concrete. The rush hour crowd burned down in their tracks. WE DISSOLVE TO a playground. where intense heat has half - melted the jungle gym, the blast has warped the swing set, the merry - go - round has sagged in the firestorm. Small skulls look accusingly from the ash - drifts. WE HEAR the distant echo of children's voices. playing and laughing in the sun. A silly, sing - songy rhyme as WE TRACKS SLOWLY over seared asphalt where the faint hieroglyphs of hopscotch lines are still visible. CAMERA comes to rest on a burnt and rusted tricycle. next to the tiny skull of its owner. HOLD ON THIS IMAGE as a female VOICE speaks : VOICE 3 billion human lives ended on August 29th, 1997. The survivors of the nuclear fire called the war Judgment Day. They lived only to face a new nightmare, the war against the Machines. A metal foot crushes the skull like china. TILT UP, revealing a humanoid machine holding a massive battle rifle. It looks like a CHROME SKELETON. a high - tech Death figure. It is the endoskeleton of a Series 800 terminator. Its glowing red eyes compassionlessly sweep the dead terrain, hunting. The SOUNDS of ROARING TURBINES. Searchlights blaze down as a formation of flying HK -LRB- Hunter - Killer -RRB- patrol machines passes overhead. PAN WITH THEM toward the jagged horizon, beyond which we see flashes, and hear the distant thunder of a pitched battle in progress.", "EXT. BATTLEFIELD - NIGHT THE BATTLE. Human troops is desperate combat with the machines for possession of the dead Earth. The humans are a ragtag guerrilla army. Skynet's weapons consist of Ground HKs -LRB- tank - like robot gun - platforms -RRB-, flying Aerial HKs, four - legged gun - pods called Centurions, and the humanoid terminators in various forms. 5A Explosions! Beam - weapons firing like searing strobe - light. 5B A gunner is an armored personnel carrier fires a LAW rocket at a pursuing Aerial HK, bringing it down in a fiery explosion. 5C Another APC is crushed under the treads of a massive Ground HK. 5D A TEAM OF GUERRILLAS in a intense fire - fight with terminator 5E endoskeletons in the ruins of a building. Three terminator 5F endoskeletons advance, firing rapidly. Another -LRB- complete cyborg -RRB-, with flesh ripped open and back broken, gropes for a rifle on the ground. 5G A Centurion overruns a human firing position. Soldiers are cut down as they run. Fiery explosions light the ranks of advancing machines. IN A BLASTED GUN EMPLACEMENT at the edge of battle, a man watches the combat with night - vision binoculars. He wears the uniform of a guerrilla general, and a black beret. He is still amid running, shouting techs and officers. C.U. MAN, pushing slowly in as the battle rages O.S.. He lowers the binoculars. He is forty - five years old. Features severe. The left side of his face is heavily scarred. A patch covers that eye. An impressive man, forged in the furnace of a lifetime of war. The name stitched on the band of his beret is CONNOR. We push in until his eyes fill frame, then. FIRE. SLOW, BOILING, ENORMOUS. FILLING FRAME. VOICE -LRB- SARAH CONNOR. -RRB- Skynet, the computer which controlled the machines, sent two terminators back through time. Their mission : to destroy the leader of the human Resistance. John Connor. My son. The first terminator was programmed to strike at me, in the year 1984. before John was born. It failed. The second was set to strike at John himself, when he was still a child. As before, the Resistance was able to send a lone warrior. A protector for John. It was just a question of which one of them would reach him first.", "EXT. TRUCKSTOP - NIGHT Wild fingers of BLUE - WHITE ELECTRIC ARCS dance in a steel canyon formed by two TRACTOR TRAILERS, parked side by side in the back lot of an all - night truck stop. Then. The strange lightning forms a circular opening in mid - air, and in the sudden flare of light we see a FIGURE in a SPHERE OF ENERGY. Then the FRAME WHITES OUT with an explosive THUNDERCLAP! Through the clearing vapor we see the figure clearly. a naked man. TERMINATOR has come through. Physique : massive, perfect. Face : devoid of emotion. Terminator stands and impassively surveys its surroundings.", "INT. TRUCK STOP DINER - NIGHT On a back route to north L.A.. A handful of local TRUCKERS hunch over chili - sizes, CAT hats pushed back on their heads. Three BIKERS are playing a game of pool in the back, their Miller empties lining the table's rail. The dive's owner, LLOYD, a fat, aging biker - type in a soiled apron, stands behind the bar. Nothing much going on. Then the front door opens and a big naked guy strolls in - that does n't happen every night. All eyes simultaneously swivel toward Terminator. Its emotionless gaze passes over the customers as it walks calmly through the room. Everyone frozen, not sure how to react. 8A TERMINATOR POV. A digitized electronic scan of the room, overlaid with alphanumeric readouts which change faster than the human eye can follow. In POV we move past the staring truckers, past the owner and the awestruck WAITRESS, and approach a large nasty - looking biker puffing on a cigar. His body is outlined, or `` selected'', and thousands of estimated measurements appear. His clothing has been analyzed and deemed suitable. 8B TERMINATOR I need your clothes, your boots, and your motorcycle. The big biker's eyes narrow. He takes a long draw on this cigar, the tip cherry - red hot. CIGAR BIKER You forgot to say please. He grinds the cigar out on Terminator's chest. Which produces not the slight reaction of pain. Terminator calmly, and without expression, grabs Cigar by his meaty upper arm. Cigar screams from the hydraulic grip. Terminator does n't see Cigar's friend, behind him, holding his pool cue by the narrow end like a Louisville Slugger. The heavy send whistles in a powerful swing and CRACKS IN TWO across the back of Terminator's head. Terminator seems not to notice. Does n't even blink. Without releasing his grip on Cigar, he snaps his arm straight back and grabs Pool Cue by the front of his jacket. Suddenly the heavyset biker finds himself flying through the nearest window. CRAASSH! Terminator hurls Cigar, all 230 pounds of him, clear over the bar, through the serving window into the kitchen, where he lands on the big flat GRILL. We hear a SOUND like SIZZLING BACON as Cigar screams, flopping jerking. He rolls off in a smoking heap. The third biker whips out a knife with a eight - inch blade and slashes at Terminator's face. Terminator grabs the arcing blade with his bare hand. Holding it by the razor - sharp blade he jerks is from the guy's hand. Ultra - fast here : He flips it. Grabs the handle like you're supposed to hold a knife. Grabs the biker and slams him face - down over the bar. Then brings the knife whistling down, pinning the biker's shoulder to the bar top with his own steel.", "INT. KITCHEN The doors BANGS OPEN and Terminator strides in. The Mexican cook does a fast fade as Terminator walks toward Cigar, who is cursing in pain on the floor. With his deep - fried fingers he struggles to get out the.45 auto tucked under his leather jacket. But he ca n't even hold onto it. Terminator takes it from him. Instead of pointing it at him, Terminator carefully examines weapon, analyzing its caliber and operating condition. Terminator never threatens. that's a human thing. He just takes. Cigar senses what he must do when the emotionless eyes come back to him. He slides the keys to his bike across the floor to Terminator's foot. Then painfully starts getting out of his jacket.", "INT. TRUCK STOP Terminator strides from the kitchen, fully clothed now in a black leather jacket, leather riding pants, and heavy, clean boots. He moves toward the moaning biker pinned to the pool table. Without slowing his stride he jerks the knife out. The guy slumps to the floor, groaning, behind him. Terminator continues toward the front of the diner, passing Lloyd, the owner. At the door, he comes abreast of two truckers who sit frozen like a snapshot in mid - bite. One of the truckers finally nods. TRUCKER Evening. Terminator impassively stares back. Then moves on out the door.", "EXT. TRUCK STOP Terminator walks out, surveying the parked Harleys. Sticks the.45 in his belt and swings one leg over a massive CUSTOM ELECTRO - GLIDE. He slips the dagger in his boot and the key in the ignition. Kicks over the engine. It catches with a roar and he slams the heavy iron into gear with a KLUNK. Lloyd appears at the diner's door with a sawed - off 10 - GAUGE WINCHESTER LEVER - ACTION SHOTGUN. He fires into the air and jacks around round in fast, aiming at Terminator's back. LLOYD I ca n't let you take the man's wheels, son. Now get off or I'll put you down. Terminator turns and considers by coldly. He eases the shifter up into neutral. Rocks the bike onto its kickstand. Swings him leg over and walks calmly toward the guy. Terminator strides right up to Lloyd, staring straight into the shotgun's muzzle. Lloyd starts sweating, trying to decide is he's going to kill a man in cold blood. He's still trying to decide when Terminator's hand blurs out like a striking cobra and is somehow suddenly holding the shotgun. Lloyd gapes, knowing he's screwed. Then. Terminator reaches toward him. Oh shit. And slips the sunglasses out of Lloyd's shirt pocket. Puts them on. Strides back to the Harley and roars off in a shower of gravel.", "EXT. FREEWAY - NIGHT Terminator roars down the freeway, heading for L.A. Cold neon flares across the chrome of the big bike. The 10 - gauge is jammed through the clutch and brake cables, across the handlebars. The lights flow over Terminator's wrap - around sunglasses like the tracks of tracer rounds.", "EXT. OVERPASS - NIGHT The First Street Bridge. Rusting chain - link fence and graffiti - covered walls. An L.A.P.D. BLACK - AND - WHITE cruises the empty street. A TREMENDOUS BLUE - WHITE GLARE suddenly spills out between the columns of the overpass. The young UNIFORMED COP in the car whips his head around at the source of the light. He pulls over quickly, in time to see. 13A The powerfully arcing electrical discharge reaches its peak between the columns. Lightning climbs the chain - link fence and light standards, lighting up the night, and papers swirl in a blasting whirlwind. 13B The cop climbs from his cruiser as the glow fades. He sees vapor dissipating as he approaches the spot where he saw the strange light. He draws his revolver and cautiously moves into the shadows between the rows of pillars. A NAKED MAN glides from a shadowed doorway behind the cop. Nothing special about him. Certainly not built like a terminator. The flash of light and fact that he is naked are pretty good clues that he just arrived from the future. His features are handsome bordering on severe. His eyes are gray ice. Penetrating. Intelligent. THE COP spins at a sound. Too late. Mr. X is already on him. The blow is lighting fast and the cop drops like a bag of sand. LOW ANGLE as the unconscious cop hits the deck, his BERETTA 9mm AUTOMATIC clattering next to him. A hand ENTERS FRAME and picks up this pistol. 13C HIGHLY POLISHED BLACK SHOES rounding the rear tire of the police cruiser. FOLLOW THE SHOES to the cruiser's door then MOVE UP as Mr. X, dressed now in LAPD blue, climbs behind the wheel. He looks and acts exactly like a cop. Cool, alert, confident in his power, his expression emotionless and judgmental. Mr. X, now Officer X, puts the car in gear and drives into the night.", "INT. SUBURBAN HOUSE/GARAGE - DAY TIGHT ON YOUNG JOHN CONNOR, who at his moment is ten years old and busy reassembling the carburetor on his Honda 125 dirtbike. He has ripped Levi's and long stringy hair. A sullen mouth. Eyes which reveal an intelligence as sharp as a scalpel. The Ramones' `` I Wan na Be Sedated'' blasts from a boom box next to him. A WOMAN, JANELLA VOIGHT, stands in the doorway of the garage, yelling over the music. WOMAN John? John! Get in here right now and clean up that pigsty of yours. John's friend TIM, a thirteen - year - old Hispanic kid, watches as John replies by turning up the volume on the boom box. Janelle gives up with a SLAM of the house's back door. TIM Your foster parents are kinda dicks, right? JOHN Gim me that Phillips right there.", "INT. HOUSE - LIVING ROOM Janelle storms into the room. TOD VOIGHT, her husband, watches sports on the TV. They're both in their thirties. Middle - class working stiffs. JANELLE I swear I've had it with that goddamn kid. He wo n't even answer me. -LRB- neither does he. -RRB- Todd? Are you gon na sit there or are you gon na do something? He sighs. Throws down the TV's remote and heads for the garage.", "INT. GARAGE John hops on the bike. Kick - starts it. Tim picks up John's nylon bag, then climbs on the back. Todd ENTERS and shouts over the engine, which John revs louder and louder. TODD John! Get your ass inside right now and do what your mother says! John pins Todd with a defiant glare. JOHN She's not my mother, Todd! He revs the engine and peels out of the garage, with Tim almost falling off the back. They take off down the street.", "EXT. VACANT LOT/DRAINAGE CANAL John cuts through a vacant lot to a trail running beside a fenced - in drainage canal. He guns the bike through a hole in the retaining fence. Tim's eyes go wide as they roar down the concrete embankment. 17A IN THE DRAINAGE CANAL John zig - zags along, throwing up a roostertail of muddy water. Tim shouts, pretending he did n't just see his life flash before his eyes. He slaps John on the back. TIM Major moves, homes! So. where is your real mom, anyway? -LRB- John does n't answer. -RRB- She dead or something? It's hard to read John's expression. JOHN She might as well be. John twists the throttle angrily and the bike lunges forward.", "EXT. PESCADERO STATE HOSPITAL - DAY A SIGN on a chain link fence topped with concertina wire reads : PESCADERO STATE HOSPITAL FOR THE CRIMINALLY INSANE. Beyond it squats an imposing four - story building. Institutional brick. Barred windows. About as inviting as KGB headquarters. Security guards patrol the manicured grass.", "INT. HOSPITAL - MAXIMUM SECURITY WING Sunlight is a barred slash on the bare institutional wall. The room is empty of all furnishings save the bed, a stainless steel sink, toilet, and a dented metal mirror. WE HEAR a rhythmic grunting, small explosions of breath in perfectly - metered time. PAN TO a bedframe leaned upright against the wall, legs facing outward. A pair of sweaty hands grip one leg. Tendons knot and release as SOMEONE does pull - ups. A man of tangled hair hides the face that comes INTO FRAME, dips out, comes back. WIDER. A WOMAN in a tank top and hospital pants in hanging from the top leg of the vertical bedframe. Her body is straight and taut. Knees bent so the feet clear the ground. The arms are lean and muscular. The inmate, face hidden, pulls up, dips, pulls up. Like a machine. No change in rhythm.", "INT. HOSPITAL/CORRIDOR FIGURES MOVE TOWARD US down a corridor of polished tile and two - tone walls. DR. PETER SILBERMAN, a smug criminal psychologist, leads a group of young INTERNS. Following laconically, are THREE BURLY ATTENDANTS. SILBERMAN The next patient is a 29 - year old female diagnosed as acute schizo - affective disorder. The usual indicators. depression, anxiety, violent acting - out, delusions of persecution. -LRB- the interns nod judiciously. -RRB- Here we are. Silberman stops at one of the SOUNDPROOF STEEL DOORS. There is a two - way speaker beneath a tiny window. Silberman flips the intercom switch.", "INT. CELL Silberman's scrubbed and cheerful face at cell window. HIS VOICE comes over the tinny speaker. SILBERMAN ` Morning, Sarah. REVERSE ANGLE as she turns slowly into CLOSE UP. SARAH CONNOR is not the same woman we remember from last time. Her eyes peer out through a wild tangle of hair like those of a cornered animal. Defiant and intense, but skittering around looking for escape at the same time. Fight or flight. Down one cheek is a long scar, from just below the eye to her upper lip. Her VOICE is a low and chilling monotone. SARAH Good morning, Dr. Silberman. How's the knee?", "INT. CORRIDOR Silberman's smug composure drops a second. Then returns. SILBERMAN Fine, Sarah. -LRB- he switches off, speaks to the interns. -RRB- She, uh. stabbed me in the kneecap with a screwdriver a few weeks ago. Sarah watches them talking about her through the glass, but ca n't hear them. She feels like a lab animal. The interns look in at her through the glass as Silberman talks. With her face drawn, eyes haggard and hair wild, she looks like she belongs where she is. SILBERMAN The delusional architecture is interesting. She believes a machine called a `` terminator'', which looks human of course, was sent back though time to kill her. And also that the father of her child was a soldier, sent to protect her. he was from the future too. -LRB- he smiles. -RRB- The year 2029, if I remember correctly. -LRB- the interns chuckle. -RRB- Let's move on, shall we? As the interns walk on, Silberman steps close to DOUGLAS, the head attendant, and speaks low. SILBERMAN Douglas, I do n't like seeing the patients disturbing their rooms like this. See that she takes her thorazine, would you? DOUGLAS is 6' 4'', 250 pounds and warm - hearted at a rattlesnake. He nods, catching Silberman's meaning, and gestures for the other attendants to hang back as Silberman moves on in his rounds.", "INT. CELL Sarah looks up as the cell door opens. Douglas walks in slowly, idly tapping his POLICE BATON against the door in a ominous rhythm. The other two orderlies ease in behind him. One of them carries a STUN BATON -LRB- like a sawed - off cattle prod -RRB-. The other has a tray with cups of red liquid - thorazine. DOUGLAS Time to take you meds, Connor. Sarah faces him, weight centered. Feral eyes darting from one to the other. SARAH You take it. Douglas grins, casual - DOUGLAS Now you know you got to be good'cause you up for review this afternoon. SARAH I'm not taking it. Now I do n't want any trouble. DOUGLAS Ai n't no trouble at all - He whips the baton in a whistling backhand, which - WHAP! Takes her square in the stomach. She doubles over and drops to her knees, unable to breathe. Douglas tips the bed and it slams down with a crash, right new to her. He takes her stun wand from the other attendant and walks forward. TIGHT ON SARAH, grimacing and struggling to breathe. SARAH You. son of a. AAARRGH! The stun wand hits her between shoulder blades as she tries to rise. It drives her to the floor, pinning her like a bug. Little ELECTRIC ARCS CRACKLE as the baton makes her writhe in pain. Douglas grabs her by the hair and jerks her up to her knees. Holds the cup of thorazine in front of her lips. DOUGLAS Last call, sugar. Gasping, she chokes the zombie juice down.", "EXT. BANK PARKING LOT - DAY John furtively hunches before a Ready - Teller machine at the rear of a local bank while his friend Tim stands lookout. John slips a stolen ATM card into the machine slot. It is something he's rigged up, because trailing from the card is ribbon - wire which goes to some kind of black - box electronics unit he's got in his ever - present knapsack. He holds the pack between his knees and pulls out a little lap - top keyboard, which is also connected to the black - box. John enters a few commands and the plasma - screen displays the PIN number for that account. He quickly enters the number on the Ready - Teller's keypad and asks it for 300 bucks. The machine whirs then begins dispensing twenty - dollar bills. Tim looks back over his shoulder amazed. JOHN Easy money! TIM Where'd you learn all this stuff? John collects the twenties as the machine kicks them out. A cool and professional electronic - age thief at ten years old. JOHN From my mom. My real mom, I mean. Come on baby. -LRB- he grabs the last bills. -RRB- Let's go! They sprint around the corner to an -", "EXT. ALLEY BEHIND BANK They huddle behind the building as John counts out Tim's share. He folds five twenties and palms them to the other kid. When John opens his wallet to put in his money, Tim notices a picture in a plastic sleeve. TIM That her? John reluctantly shows his friend the Polaroid. It is a shot of Sarah. Pregnant, in a jeep near the Mexican border. John does n't know it now, but he will carry the photo with him for over 30 years, and give it to a young man named Kyle Reese, who will travel back in time to become his father. Yes, that photo. TIM So she's pretty cool, huh? JOHN Actually, no, she's a complete psycho. That's why she's up at Pescedero. She tries to blow up a computer factory, but she got shot and arrested. TIM No shit? JOHN Yeah, she's a total loser. C'mon, let's check out the 7 - Eleven, whatya say? John has tried to sound casual, but we see in his eyes that is really hurts. He slaps Tim on the shoulder and they jump onto his Honda. John fires up and they whine off down the alley.", "INT. POLICE CRUISER - DAY CLOSE ON COMPUTER TERMINAL, attached to the dash. A Juvenile Division file. Subject : John Connor. Below his ARREST RECORD are his vital stats. Mother : Sarah Connor. Legal Guardians : Todd and Janelle Voight. And below their names, an address : 523 S. Almond. Reseda, Ca. OFFICER X stares at the screen for a moment. Then gets out the car.", "INT./EXT. VOIGHT HOUSE - DAY TIGHT ON FRONT DOOR as Todd Voight opens it, revealing the unsmiling face of Officer X beyond the screen door. Todd greets him with a weary sigh. OFFICER X Are you the legal guardian of John Connor? TODD That's right, officer. What's he done now? Officer X ignores the question. He casually scans the living room. OFFICER X Could I speak with him, please? Todd shrugs, showing the cop he's past his patience with the boy. TODD Well, you could if he was here. Be he took off on his bike this morning. Could be anywhere. You gon na tell me what his is about? OFFICER X I just need to ask him a few questions. Janelle appears in the doorway behind Todd, concerned. JANELLE There was a guy here this morning asking about him, too. TODD Yeah, big guy. On a bike. Has that got something to do with it? Officer X registers the significance of that. He realizes who the big guy must be. He smiles. Reassuringly shakes his head no. OFFICER X I would n't worry. Do you have a photograph of John? Todd stares unhappily at the cop. Turns to Janelle. TODD Get the album, Janelle.", "EXT. STREET ANGLE THROUGH AN ALLEY from the main street. We see John and Tim flash by on the Honda a block away. Hold a beat. Then. A BIG CHROME WHEEL ENTERS FRAME. BOOM UP a leather - clad leg to Terminator's implacable face. It surveys the area slowly as the bike idles, then kicks it into gear and moves on, scanning in a slow shark - like manner, not aware that it missed its prey by seconds.", "INT. SARAH'S CELL - DAY CLOSE ON SARAH. She is shackled, hands and feet, to the bed. Sunlight falls across her pale face. A hand enter frame, gently stroking her cheek. She wakes up to see - KYLE REESE. Sitting on the edge of her bed, looking exactly the same as we last saw him in 1984. Scruffy blonde hair and a long raincoat. SARAH Kyle? You're dead. He gives her a gentle smile. REESE I know. This is a dream, Sarah. SARAH Oh. Yeah. They. make me take this stuff. He puts a finger to her lips. Then silently unfastens her restraints. They gaze into each other's eyes. And in the look that his death and the horror she has been through since has n't touched their love at all. SARAH Hold me. She melts into Reese's arms. Pulls him to her. REESE I love you. I always will. SARAH Oh, God. Kyle. I need you so much. She kisses him passionately. They are locked together in a timeless moment. PUSH IN TIGHT on Sarah as she buries her face in his shoulder. She shuts her eyes tight. Stay on Sarah as Reese speaks. He voice is strangely cold. REESE -LRB- O.S. -RRB- Where's John, Sarah? Sarah opens her eyes and he is no longer in her arms. He is standing across the room. Pinning her with an accusing gaze. SARAH They took him from me. REESE It's John who's the target now. You have to protect him. He's wide open. SARAH I know! REESE Do n't quit, Sarah. Our son need you. SARAH -LRB- struggling not to cry. -RRB- I know, but I'm not as strong as I'm supposed to be. I ca n't do it. I'm screwing up the mission. REESE Remember the message. the future is not set. There is not fate but what we make for ourselves. He turns toward the door. SARAH Kyle, do n't go! REESE -LRB- turning back to her. -RRB- There's not much time left in the world, Sarah. Reese goes out the door. Sarah jumps from the bed, frantic. Yanks the door open. Follow her out.", "INT. CORRIDOR Sarah staggers from her cell. Reese is already, impossibly, a hundred feet away, striding down the dim corridor. A silhouette in a long coat, disappearing around a corner. Sarah runs after him, her bare feet slapping the cold linoleum. Her hospital gown floats out behind her as she dream - runs along the seemingly infinite corridor. She reaches the corner, slides around it, and. 30A Slams right into the arms of Douglas and his three helpers. They grab her as she struggles and screams. The Silberman is there, smiling soothingly. They force her down and she is pinned to the floor, screaming. A new figure approaches. one even more menacing. TERMINATOR walks toward her, with heavy measured steps. Backlit, eyes concealed by the sunglasses, it stands over her like the angel of death itself. It reaches down and. Takes her hand. Lifts her up. Leads her to a door. They go through together. Emerging into. 30B A BEAUTIFUL SUNLIGHT MORNING. CHILDREN are playing nearby. sliding down slides, clambering through a jungle gym. Sarah knows this dream know. it's is the worst of all her nightmares. She starts to scream but no sound comes out. 30C THE SKY EXPLODES into WHITE LIGHT. Everything is seared by the unholy glare, hotter than a thousand suns. The children ignite like match heads. Sarah is burning, screaming silently, everything silent and overexposed. Terminator's flesh and clothing are burning, silently. It grips her hand, Virgil to her Dante in this tour of the nuclear - age Inferno. 30D THE BLAST WAVE HITS. a near - solid wall of compressed air followed by 250 - mph winds. The children, charcoal statues frozen in positions of play, explode into black leaves of ash and swirl away. SOUND hit now, with a thunderous roar. Sarah's scream merges with the howl of the wind as the blast hits her, exploding the flesh from her bones. Beside her, Terminator is stripped of its burnt flesh, becoming a smoking skeleton of steel. 30E Then she wake up. in her cell, shackled to the bed. Sunlight hurts her eyes. She looks desperate and defeated. She knows the war is coming. It visits her every time she closes her eyes. Lost and alone, Sarah feels all hope recede for herself and for humanity.", "INT. PESCADERO STATE HOSPITAL - INTERVIEW ROOM TIGHT ON VIDEO SCREEN, playing a previously - recorded session. Sarah is in a strait - jacket, talking softly. VIDEO SARAH it's. like a giant strobe light, burning right through my eyes. but somehow I can still see. Look, you know the dream's the same every night, why do I have to - VIDEO SILBERMAN Please continue. 31A The REAL SARAH dispassionately watches herself on the screen. Her expression is controlled. Silberman watches her watching. They are in a brightly - lit interview room. TWO ATTENDANTS stands nearby. 31B VIDEO SARAH The children look like burnt paper. black, not moving. Then the blast wave hits them and they fly apart like leaves.'' Video Sarah ca n't go on. Real Sarah watches herself cry on tape, her expression cold. We hear Silberman speak on the tape. VIDEO SILBERMAN Dreams about cataclysm, or the end of the world, are very common, Sarah. Video Sarah cuts him off, her mood shifting to sudden rage. VIDEO SARAH It's not just a dream. It's real, you moron! I know the date is happens! VIDEO SILBERMAN I'm sure it feels very real to you - VIDEO SARAH On August 29th 1997 it's going to feel pretty fucking real to you, too! Anybody not wearing number two million sunblock in gon na have a real bad day, get it? VIDEO SILBERMAN Relax now, Sarah - VIDEO SARAH You think you're alive and safe, but you're already dead. Everybody, you, him. -LRB- she gestures are the attendant. -RRB- everybody. you're all fucking dead! She is raving, half out of her chair. The orderly moves to inject her with something. VIDEO SARAH You're the one living in a dream, Silberman, not me! Because I know it happens. It happens! 31C Silberman pauses the tape. freezing Sarah's contorted face. Real Sarah turns away from the screen, he expression stony. SARAH I was afraid. and confused. I feel much better, now. Clearer. Silberman gives a calculated paternal smile. SILBERMAN Yes. Your attitude have been very positive lately. Sarah looks up at him. Her voice is hopeful. SARAH It has helped me a lot to have a goal, something to look forward to. SILBERMAN And what it that? As she answers, WE PULL BACK, revealing that we have been looking through a one - way mirror from an adjacent OBSERVATION ROOM. In the shadows of the observation room we see that interns from the earlier rounds, and a couple of STAFF PSYCHOLOGISTS. They smoke and make the occasional note. SARAH You said I could be transferred to the minimum security wing and have visitors if I showed improvement in six months. Well, it's been six months, and I was looking forward to seeing my son. SILBERMAN I see. Let's go back to what you were saying about these terminator machines. Now you think they do n't exist? CLOSE ON SARAH. Her voice sounds hollow. SARAH They do n't exist. I see that now. Silberman leans back, studying her. Toying with her. SILBERMAN But you've told me on many occasions about how you crushed one in a hydraulic press. SARAH If I had, there would have been some evidence. They would have found something at the factory. SILBERMAN I see. So you do n't believe anymore that the company covered it up? Sarah shakes her head no.", "EXT. CYBERDYNE SYSTEMS - DAY The corporate headquarters of a mega - electronic corporation. As imposing cubist castle of black glass.", "INT. SECOND FLOOR/ELEVATORS The elevator doors slide open with a whisper and MILES DYSON strides out. Black. In his early thirties. The star of the Special Projects Division. He's brilliant, aggressive, driven. Dyson walks down the corridor, swinging his arms. a man in a hurry. A man with much to do. He reaches a solid security door and zips his ELECTRONIC KEY - CARD through the scanner. The door unlocks with a clunk. The sign next to the door reads : SPECIAL PROJECTS DIVISION : AUTHORIZED PERSONNEL ONLY.", "INT. SECURITY STATION He nods to the guards as he passes through the security checkpoint. They can see all activities on the floor on their bank of monitors. He unlocks another service door with his card and enters -", "INT. ARTIFICIAL INTELLIGENCE (A.I.) LAB The lab is quite large, comprising banks of processors, disk drives, test bays, prototype assembly areas. Extremely high tech. DYSON Greetings, troops. He is jokingly saluted by fellow members. Not a lab coat in sight. This is strictly jeans and sneakers crowd. All young and bright. They sit at their consoles drinking Coke and changing technology as we know it. A young LAB ASSISTANT rushes over to Dyson. Name tag says he's BRYANT. BRYANT Mr. Dyson? The material teams wants to run another test on the uh. on it. DYSON Yup. Come on. I'll get it. Dyson produces an unusual - looking KEY from his pocket as they stride through the lab. Bryant has to hustle to keep up. BRYANT Listen, Mr. Dyson, I know I have n't been here that long, but I was wondering if you could tell me. I mean, if you know. DYSON Know what? BRYANT Well. where it came from. DYSON I asked them that question once. Know what they told me? Do n't ask.", "INT. VAULT ROOM Dyson enters with Bryant. Dyson and a GUARD stand together before what looks like a high - tech bank vault. It requires two keys to open, like the launch controls in a nuclear silo. The guard and Dyson insert their keys and turn them simultaneously. Dyson then enters a passcode at a console and the vault unlocks itself with a sequence of clunks. The door swings open and Dyson enters. Bryant stays outside with the guard, who notes Dyson's name and item on a clipboard.", "INT. VAULT Dyson walks to a stainless steel cabinet and opens it. Inside is a small artifact in a sealed container of inert gas. IT - a ceramic rectangle, about the size of a domino, the color of liver. It has been shattered, painstakingly reconstructed and mounted on a metal frame. Dyson removes the artifact, it its insert - gas, and sets it on a specially - designed cart. He handles it like the Turin Shroud. Dyson closes the cabinet. Turns to the one next to it. Opens its door. In this cabinet is a larger object. an intricate METAL HAND AND FOREARM. At the elbow, the metal is twisted and crushed. But the forearm and hand are intact. Its metal surface scorched and discolored, it stands upright in a vacuum flask, as if saluting. This is all that remains of the terminator Sarah destroyed. Dyson stares at it, lost in thought. The he closes the cabinet, BLACKING OUT FRAME.", "INT. INTERVIEW ROOM/OBSERVATION ROOM We can see through the one - way mirror into the interview room where Sarah is still talking with Silberman. The OTHER PSYCHOLOGISTS are still watching through the mirror. Reviewing Sarah's condition. SARAH So what do you think, Doctor? I've shown a lot of improvement, have n't I? SILBERMAN You see, Sarah. here's the problem. I know how smart you are, and I think you're just telling me what I want to hear. I do n't think you really believe who you've been telling me today. We go tight on Sarah's reaction. And we see that Silberman is right. She was playing him and it did n't work. And she knows she's fucked. Her tone becomes quite pleading. SARAH You have to let me see my son. Please. It's very important. He's in danger. At least let me call him - Silberman pins her with his sweet reptilian gaze. SILBERMAN I'm afraid not. Not for a while. I do n't see any choice but to recommend to the review board that you stay here another six months. Sarah's eyes turn cold and lethal in one second. She knows she's lost. She knows this guy is just playing with her, and she - LEAPS ACROSS THE TABLE AT HIM. SARAH YOU SON OF A BITCH! Silberman jumps back and the attendants dive on her. She is writhing and twisting like a bobcat. Silberman whips open a drawer and pulls out a syringe. He jabs it into her and she yells - SARAH Goddammit. Let me go! Silberman! You do n't know what you're doing! You fuck! You're dead! You hear me! Silberman signals and the attendants drag her out. He looks at the doctors behind the glass. Shrugs. SILBERMAN Model citizen.", "EXT. 7-ELEVEN STORE - DAY Officer X has stopped two young girls in front of a 7 - Eleven. He is leaning out the cruiser window and showing them the picture of John. The first girl nods. FIRST GIRL Yeah, he was here about fifteen minutes ago. I think he said he was going to the Galleria. OFFICER X The what? The second girl points toward a massive complex visible about the houses several blocks away. Officer X stares at it.", "EXT. STREET Terminator cruises slowly on the bike. Scanning. He crosses an overpass above a drainage canal and whips his head around at the sound of a dirt - bike engine. 40A TERMINATOR POV - OF TWO KIDS ON A BIKE DOWN IN THE CANAL. THE IMAGE SNAP - ZOOMS IN. FREEZES ON THE DRIVER'S FACE. `` IDENT POS'' FLASHES NEXT TO THE BLURRY IMAGE OF JOHN. 40B Terminator wheel the Harley around, cutting onto a street which runs parallel to the canal. Terminator hauls ass at keep John in sight. He catches glimpses of the kid through trees and houses. Loses him. Catches one last glimpse of him heading into the parking lot of a large SHOPPING MALL.", "INT. GALLERIA - DAY John works his way through a crowded video arcade. Sees some guys he knows. Stops to talk, striking a pose. Mall rats in the element. We do n't hear the dialogue.", "INT. GALLERIA PARKING LOT TERMINATOR'S idling Harley shakes the parking garage walls. He stops at a row of bikes near the escalators. John's little Honda sits proudly with the big street bikes. Terminator parks.", "INT. GALLERIA OFFICER X is moving through the flow of shoppers. The place is a zoo. He stops some kids and shows them the picture. They shrug. 43A IN A CROWDED VIDEO ARCADE JOHN is lost in an intense battle, going for a new high score at `` Missile Command''. He parries deftly at the enemy ICBMs deploy their MIRVs. the warheads stream down. it's more than he can deal with. The world gets nuked. Game over. He slouches away from the game, looking for another. Bored. RACK FOCUS to Officer X passing the entrance of the store behind him. The cop moves on, down the concourse, out of sight. John gets in an `` Afterburner'' simulator game. 43B ON TERMINATOR, walking through the crowd in slow motion. Scanning. He moves with methodical purpose, knowing the target is close. We see that he is, incredibly, carrying a box of LONG - STEM ROSES. Like some hopeful guy with a hot date. 43C THE COP is pointed toward the arcade by come kids hanging out at the multi - cinema. He walks into the maze of kids engaged in synthesized combat. Cheap electronic effects blare above the crowd noise. 43D JOHN is shooting down MiGs at Mach 2. His friend Tim slides up next to him. Taps him on the shoulder, trying to play it cool. TIM Some cop is scoping for you, dude. John looks around the corner of the `` Afterburner'' ride. Sees the cop showing a picture to some of the kids. The kids point his way. John ducks just as the cop glances over. He slinks out the other side of the ride and heads for the back of the store, instinctively retreating. Sarah has taught him that cops are bad news. THE COP scans the crowded arcade. Glimpses John, looking back as he moves around a row of machines. Starts toward him. JOHN sees the cop homing in and starts walking fast. Looks back. THE COP is shoving through clots of kids. One of them is slammed to the floor. As eddy of outrage behind the cop as he gains speed. John breaks into run. So does the cop. Kids scatter like ten - pins as the cop charges after John. John sprints through the arcade's back officer and store - rooms.", "INT. SERVICE CORRIDOR John emerges through a firedoor into a long corridor with connects to the parking garage. He's running full out, when around the corner ahead of him comes. TERMINATOR. Time stretches to nightmarish crawl as John tries to brake to a stop. Terminator reaches into the box of roses. SLOW MOTION. The cold back steel of the SHOTGUN emerges at the box falls open, the roses spilling to the floor. TERMINATOR'S BOOT crushes the flowers as it moves forward. JOHN, transfixed by terror, is trapped in the narrow featureless shooting gallery of the corridor. THE SHOTGUN COMES UP. Terminator expressionlessly strides forward. Jacks a round into the chamber, slow and fluid. John looks behind him for a place to run. Sees the cop coming toward him, pulling his Beretta pistol. Incredibly, John realizes the cop is aiming his gun at him! John looks back at Terminator. He is starting into the black muzzle of the 10 - gauge now. Aimed right at his head. He realizes he's screwed. Then something crazy happens. TERMINATOR Get down. John instinctively ducks. Terminator pulls the trigger. KABOOM! THE COP catches the SHOTGUN'S BLAST square in the chest just as he fires the pistol. The pistol's shot goes wild. TERMINATOR pumps another round into him. The another. And another. Advancing a step each time he fires, he empties the shotgun into the cop, blowing his backward down the corridor. The sound is DEAFENING. Then silence. THE COP lies still on his back. 44A Terminator is now standing right over John. They both watch as the cop, incredibly, sits up unharmed and gets to his feet. Terminator grabs John roughly by his jacket. Clutches the kid to his chest then spins around at the cop opens fire with the Beretta. 44B The `` cop'', who not only is n't a cop, he clearly is n't even human, pulls the trigger so fast it almost seems like a machine - pistol. ON TERMINATOR'S BACK, as the 9mm slugs slam into it, punching bloody holes in the motorcycle jacket. JOHN is bug - eyed with fear, but completely unscratched. Terminator's body has blocked the bullets. The Beretta CLACKS empty. Terminator turns at the sound. Shoves John behind a Coke machine. Drops the empty shotgun. Starts walking toward the `` cop''. The empty magazine clatters to the floor. The cop inserts another one. Snaps back the slide. Terminator still has twenty feet to go. He does n't break his purposeful stride. The cop opens fire. Bullets rake Terminator's chest. He does n't even flinch. Ten feet to go. BLAM BLAM BLAM BLAM! Neither the cop nor Terminator show the slightest change in expression as the gun rips Terminator's wardrobe to shreds. CLACK. The pistol empties again. Terminator stops two feet in front of the cop. The appraise each other for a second. We realize now that the cop is a terminator too. We do n't know the details yet, but let's call him the T - 1000 -LRB- since that's what he is -RRB-. A newer model than the one we've come to know so well -LRB- the 800 Series `` Arnold'' -RRB-. This guy's a prototype. and he's got quite a few surprises. T - 1000 AND TERMINATOR size each other up. Terminator moves first. He grabs T - 1000 in his massive hands but the T - 1000 snaps back with a counter - grip. After about two seconds of intense slamming, the walls on both sides of the corridor have all the plaster smashed in, and the two battling machines have blasted through the wall and disappeared. JOHN, totally stunned by all this, remembers to move. He staggers to his feet. Stumble - runs toward the parking garage. 44C THIRD LEVEL CONCOURSE. A plate glass window EXPLODES and Terminator crashes through to the tile floor like a sack of cement amid the screaming crowd. 44D T - 1000 turns without a word and heads back through the store after John, accelerating slowly into a loping, predatory run. 44E Terminator is totally still. A JAPANESE TOURIST cautiously steps forward and takes a picture of the body. Suddenly, Terminator's eyes snap open. The stunned tourist backs away. He sits up and looks around. Gets his bearings. Rises smoothly to his feet. All servos seem to be working fine. The tourist's camera whirs as the motor - drive runs on by itself, taking shot after show. The owner is n't even looking through the eyepiece, he's so shocked.", "INT. PARKING GARAGE John is frantically pumping the kick - start of his bike, scared shitless and the damned thing wo n't start. His hands are shaking so badly he ca n't find the choke. He looks up to see - The T - 1000 running down the corridor toward him. John fumbles with the choke. The bike catches. He slams it in gear and spins the bike out into the main aisle of the garage. John looks back. the T - 1000 is behind him, running. He twists the throttle and guns the little bike forward. Incredibly, the T - 1000 is gaining. This nightmare is n't happening. John races out the exit ramp, and charges right into the street.", "EXT. STREET John shoots into the busy traffic. Cuts off a BIG - RIG TOW TRUCK. The DRIVER swears. Hits his air horn. What the driver does n't see is the cop, running faster than O.J. Simpson at the airport, who emerges onto the street and runs back at his truck. 46A IN THE TRUCK. The driver hears a thump as something slams against his door, then feels himself pulled right out. T - 1000 slides in and takes his place. The truck is still rolling along about 25 mph. T - 1000 accelerates after John without missing a beat. It can see him, up ahead, weaving through traffic. 46B Out of the garage entrance, Terminator roars onto the street on the Harley. He accelerates after the others.", "EXT. FLOOD CONTROL CHANNEL John slides his bike down the service ramp faster than he's ever done it before. He races along the bottom of the canal, turning into a narrower tributary which has vertical sides. He looks back. No sign of pursuit. 47A Suddenly he sees the sun blocked out by a great shadow. The Kenworth tow - truck. big as a house, all chrome and roaring diesel engine. crashes through the fence and launches itself right into the center of the canal. It crashes down, 15 feet to the ground, going about 60, hits at an angle and tears into the concrete wall with a hideous grinding of metal. It ricochets back and forth between the walls then, bellowing like a gunshot stegosaurus, it just keep on plowing forward, gathering speed. 47B John looks back and sees this wall of metal almost filling the narrow concrete canal and he milks every last bit of throttle the little bike has. The Kenworth is all muscle, tearing along the canal like a train in a tunnel. Its big tires send up huge sheets of muddy spray, backlit in the setting sun. It looks like some kind of demon. And. it's gaining. 47C ABOVE THEM, on the service road running parallel, Terminator is fighting to overtake them. He looks down and sees John with the tow - truck from Hell catching up to him. It is only about twenty feet behind him and still gaining. 47D ANGLE IN THE CANAL, looking back past a desperate John, at the wall of metal filling frame behind him. 47E ABOVE, Terminator cuts the bike suddenly hard to the left, leaving the road. Hitting an earth embankment just right, he jumps the bike into the air like Steve McQueen in `` The Great Escape'' and vaults the fence bordering the canal. It slams down at the edge of the canal and tears along, inches from the drop - off on a dirt path, accelerating past the truck in the canal below. 47F John hits some water and slews momentarily, loosing speed. The massive push - plate on the front of the truck slams into his back fender. Panicked, he pulls a little ahead. All this is happening at about sixty miles and hour. Top speed for the little dirt bike. 47G SLOW MOTION as Terminator jumps the bike again. This time the 700 - pound Harley sails out into space and drops into the canal. It arcs down between the truck and John, hitting on its wheels. It bottoms out, an explosion of sparks under the frame. Only the ultra - fast reflexes of a machine could keep the bike upright. Terminator fights for control. 47H He guns the throttle and the powerful bike roars up beside John's tiny Honda. Terminator sweeps the kid off his machine with one arm and swings him onto the Harley, in front of him. John's Honda weaves and falls, smashing instantly under thundering tires. The Harley roars ahead. It hits eighty. Ahead is an overpass, and supporting it is an abutment which bisects the canal into two channels. The Harley thunders into one channel, which is essentially a short tunnel. 47I The truck ca n't fit on either side. Neither can it stop, at that speed. Tires locked, it slides on the muddy concrete and piles into the concrete abutment at seventy. 47J Terminator and John emerge from the tunnel, looking back to see a fireball blasting through behind them as the truck's side - tanks explode. Terminator stops the Harley. John peers around his body to see the destruction. A burning wheel wobbles out of the tunnel and flops in the mud. Terminator revs the bike and they roar away, down the canal, disappearing around a bend. 47K ANGLE ON THE FIRE, as a column of black smoke rises from the overpass. Smoke boils from the tunnel as well, and inside it is a solid wall of flame. A figure appears in the fire. Just an outline. Walking slowly. calmly. The figure emerges from the flames. It is human - shaped but far from human. A smooth chrome man. Not a servo - mechanism like Terminator is underneath, with its complex hydraulics and cables. this thing is a featureless, liquid chrome surface, bending seamlessly at knees and elbows as it walks. It reminds us of mercury. A mercury man. Its face is simple, unformed. Unruffled by thousand - degree heat, it walks toward us. With each step detail returns. First the shape and lines of its clothing emerge from the liquid chrome surface, then finer details. buttons, facial features, ears. 47K But it's still al chrome. With its last step, the color returns to everything. It is the cop again. handsome young face, blond hair, mustache. Icy eyes. It stops and looks around. It is a perfect chameleon. A liquid metal robot. A killing machine with the ultimate skills of mimicry for infiltration of human society. 47L ANGLE NEARBY, as several police cruisers and a fire truck pull up. T - 1000 climbs out of the canal behind them. More cops arrive. T - 1000 blends in perfectly. There are always cops at diasters and scenes of violence. We now see why its choice of protective mimicry is so perfect. It walks among the other cops unnoticed. Gets into one of the squad cars. Starts it and drives away.", "EXT. SIDE STREET - NIGHT Terminator, with John in front of him on the Harley, roars down the empty street. John cranes his neck around to get a look at the person/thing he is riding with. The image is strangely reminiscent of father/son, out for an evening ride. John is still in shock from the experience of what just happened and he's just a ten - year kid, but he's also John Connor who will someday rise to greatness, and we see a bit of that in him even know. JOHN Whoa. time out. Stop the bike! Terminator immediately complies. He leans the bike into a turn. They head into a nearby alley.", "EXT. ALLEY Terminator and John rolls into the alley and come to a stop. John slides off the gas tank. Terminator impassively stares at him. John checks him out. Tentatively speaks. JOHN Now do n't take this the wrong way, but you are a terminator, right? TERMINATOR Yes. Cyberdyne Systems, Model 101. JOHN No way! John touches Terminator's skin. Then the blood on his jacket. His mind overloads as the reality of it hits him. JOHN Holy shit. you're really real! I mean. whoah! -LRB- stepping back. -RRB- You're, uh. like a machine underneath, right. but sort of alive outside? TERMINATOR I'm a cybernetic organism. Living tissue over a metal endoskeleton. JOHN This in intense. Get a grip, John. Okay, uh. you're not here to kill me. I figured that part out for myself. So what's the deal? TERMINATOR My mission is to protect you. JOHN Yeah? Who sent you? TERMINATOR You did. Thirty years from now you reprogrammed me to be your protector here, in this time. John gives him an amazed look. JOHN This is deep.", "EXT. STREET - NIGHT John and Terminator on the bike again, weaving through the side streets. They blend into the evening traffic. In the darkness, Terminator's wounds are not readily visible. John cranes his head up and back. JOHN So this other guy? He's a terminator too, right, like you? TERMINATOR Not like me. A T - 1000. Advanced prototype. A mimetic polyalloy. JOHN What does that mean? TERMINATOR Liquid metal. JOHN Radical. TERMINATOR You are targeted for termination. The T - 1000 will not stop until it complete its mission. Ever. John mulls that over. JOHN Where we going? TERMINATOR We have to leave the city, immediately. And avoid the authorities. JOHN Can I stop by my house? TERMINATOR Negative. The T - 1000 will definitely try to reacquire you there. JOHN You sure? TERMINATOR I would.", "EXT. PAYPHONE John is quickly going through his pockets for change. He has plenty of bills but no quarters. JOHN Look, Todd and Janelle are dicks but I got ta warn them. Shit! You got a quarter? Terminator reaches past John and smashes the cover plate off the phone's cash box with the heel of his hand. A shower of change tumbles out. Terminator hands one to John. John dials.", "INT. VOIGHT HOUSE - KITCHEN - NIGHT Janelle Voight picks up the kitchen phone and cradles it with her shoulder which she continues to chop vegetables with a large knife. She answers sweetly. JANELLE Hello? JOHN -LRB- filtered through phone. -RRB- Janelle? It's me. In the backyard, John's German Shepherd is going bonkers, barking at something. JANELLE John? Where are you, honey? It's late. You should come home, dear. I'm making a casserole. AT THE PAYPHONE. John listens, an odd look on his face. He covers the phone's mouthpiece and turns to Terminator. JOHN -LRB- whispering. -RRB- Something's wrong. She's never this nice. IN THE VOIGHTS' KITCHEN. Todd comes through the kitchen's back door. Just home from work. He ignores Janelle and opens the fridge. Grabs a carton of milk. Takes a sip. Frowns at the dog's barking. TODD What the hell's the goddamn dog barking at? SHUT UP, YOU MUTT! TIGHT ON JANELLE as Todd growls around the kitchen behind her. He passes OUT OF FRAME next to her. Janelle switches the phone to her other hand then. THUNK! Her free hand seems to do something out of frame. There is a gurgling, and the sound of liquid dribbling onto the floor. -LRB- Do n't go away. We'll find out what happened in a moment -RRB- AT THE PAYPHONE JOHN The dog's really barking. Maybe it's already there. What should I do? Terminator takes the phone from John's hand. Janelle's voice is floating through the receiver. JANELLE -LRB- filtered. -RRB- John? John, are you okay? Terminator speaks into the phone in a perfect imitation of John's voice. TERMINATOR -LRB- in John's voice. -RRB- I'm right here. I'm fine. -LRB- to John, a whisper. -RRB- What's the dog's name? JOHN Max. Terminator nods. Speaks into the phone. TERMINATOR Hey, Janelle, what's wrong with Wolfy? I can hear him barking. Is he okay? JANELLE -LRB- filtered. -RRB- Wolfy's fine, honey. Where are you? Terminator unceremoniously hangs up the phone. Turns to John. TERMINATOR Your foster parents are dead. Let's go. Terminator heads for the bike. John, shocked, stares after him.", "INT. VOIGHT HOUSE/KITCHEN Janelle hangs up the phone. Her expression is neutral. Calm. PAN OVER along her arm, which is stretched out straight from the shoulder. Partway along its length her arm has turned smoothly into something else. a metal cylinder which tapers into a sword - like spike. Now we see Todd Voight PINNED TO A KITCHEN CABINET by the spike which has punched through his milk carton, through his mouth and exits the back of his head into the cabinet door. His eyes are glassy and lifeless. The spike is withdrawn - SWIISHHTT! - so rapidly, Todd is actually standing there a second before he slumps out of sight. THUMP. 53A Janelle does n't bat an eye as the spike smoothly changes shape and color, transforming back into a hand, and then. 53B JANELLE CHANGES rapidly into the COP we now know as the T - 1000. The change has liquid quality. T - 1000 opens the back door.", "EXT. VOIGHT HOUSE/BACKYARD - NIGHT T - 1000 approaches the big German Shepherd, which slinks away from it, barking in fear. T - 1000 walk right into CLOSE UP. Reaches down, OUT OF FRAME. We hear that sickening THUNK followed by a shrill YELP. Then T - 1000's hand snaps up INTO FRAME holding a bloody dog collar. The tag reads `` MAX''. T - 1000 nods thoughtfully. Heads back to the house.", "EXT. PARKING LOT - NIGHT Dark. Off a quiet street. Terminator stands near the Harley, watching John pace before him. John's brain is calling time - out. This is all too weird. JOHN I need a minute here, okay? You're telling me it can imitate anything it touches? TERMINATOR Anything it samples by physical contact. John thinks about that, trying to grasp their opponent's parameters. JOHN Like it could disguise itself as anything. a pack of cigarettes? TERMINATOR No. Only an object of equal size. John's still reeling from meeting one terminator, which now seems downright conventional next to the exotic new model. JOHN Well, why does n't become a bomb or something to get me? TERMINATOR It ca n't form complex machines. Guns and explosives have chemicals, moving parts. It does n't work that way. But it can form solid metal shapes.", "INT. VOIGHT HOUSE - NIGHT T - 1000 walks down the dark hall. It passes the bathroom and we see the real Janelle's legs through the half - open door. The shower is running. Her blood mixes with water on the white tile floor. 56A In John's bedroom the T - 1000 begins searching methodically in the dark. Calmly and dispassionately ripping the room apart for any clues that could lead it to its target. T - 1000 finds a box of audio cassettes marked `` Messages from Mom''. In it are some letters, and envelopes filled with snapshots. It begins looking through some of the photos. SHOT OF JOHN AND SARAH during the missing years. Sarah in olive cammos with an RPG 7 grenade launcher, teaching John how to aim. Sarah with a group of military - clad Guatemalan men, standing next to cases of Stinger missiles. John and Sarah in a Contra camp, deep in the mountains.", "EXT. PARKING LOT - NIGHT John is now sitting on the curb, lost in stunned thought. Terminator stands above him, watching the street like a Doberman. He glances down at John. JOHN We spent a lot of time in Nicaragua. places like that. For a while she was with this crazy ex - Green Beret guy, running guns. Then there were some other guys. She'd shack up with anybody she could learn from. So then she could teach me how to be this great military leader. Then she gets busted and it's like. sorry kid, your mom's a psycho. Did n't you know? It's like. everything I'd been brought up to believe was just made - up fantasy, right? I hated her for that. -LRB- he looks up. -RRB- But everything she said was true. -LRB- he stands. -RRB- We got ta get her out of there. TERMINATOR Negative. The T - 1000's highest probability for success now would be to copy Sarah Connor and wait for you to make contact with her. JOHN Oh, great. And what happens to her? Terminator's reply is matter - of - fact. TERMINATOR Typically, the subject being copied is terminated. JOHN TERMINATED!? Shit! Why did n't you tell me? We got ta right now! TERMINATOR Negative. She is not a mission priority. JOHN Yeah, well fuck you, she's a priority to me! John strides away. Terminator goes after him and grabs him arm. John struggles against the grip. Which does n't do him much good. JOHN Hey, goddammit! What's your problem? Starts dragging John back to the bike. John spots a couple of collage - age slab - o - meat JOCK - TYPES across the street and starts yelling to them. JOHN Help! HELP! I'm being kidnapped! Get this psycho off of me! The TWO JOCKS start toward him. John yells in outrage to Terminator. JOHN Let go of me! To his surprise, Terminator's hand opens so fast John falls right on his butt. He looks up at the open hand. JOHN Oww! Why'd you do that? TERMINATOR You told me to. John stares at him in amazement as he realizes. JOHN You have to do what I say?! TERMINATOR That is one of my mission parameters. JOHN Prove it. stand on one foot. Terminator expressionlessly lifts one leg. John grins. He's the first on his block. JOHN Cool! My own terminator. This is great! The two guys get there and look at Terminator standing there calmly with one leg up in the air. This big guy in black leather and dark glasses, standing like a statue. FIRST JOCK Hey, kid. You okay? John turns to him. No longer needing to be rescued. JOHN Take a hike, bozo. FIRST JOCK Yeah? Fuck you, you little dipshit. JOHN Dipshit? Did you say dipshit?! -LRB- to Terminator. -RRB- Grab this guy. Terminator complies instantly, hoisting him one - handed by the collar. the guy's legs are pinwheeling. JOHN Now who's the dipshit, you jock douchebag? Immediately, things get out of hand. The guy's friend jumps behind Terminator and tries to grab him in a full nelson - Terminator throws the first guy across the hood of a car - Grabs the second by the hair, whips out his.45 in a quick blur, and aims the muzzle at the guy's forehead. John grabs Terminator's arm with a yell as he pulls the trigger - John's weight is just enough to deflect the gun a few inches. The guy flinches, stunned by the K - BOOM next to his ear. He stares, shocked. Pissing himself. John is freaking out, too. He screams at Terminator. JOHN Put the gun down! NOW! Terminator sets the.45 on the sidewalk. John scoops it up fast then turns to the shocked civilians, who ca n't believe what just happened. JOHN Walk away. They do. Fast. John grabs Terminator by the arm and tugs him toward the bike. John still holds the gun, reluctant to give it back. JOHN Jesus. you were gon na kill that guy! TERMINATOR Of course. I'm a terminator. John stares at him. Having your own terminator just became a little bit less fun to him. JOHN Listen to me, very carefully, okay? You're not a terminator any more. Alright? You got that? You ca n't just go around killing people! TERMINATOR Why? JOHN Whattaya mean, why?'Cause you ca n't! TERMINATOR Why? JOHN You just ca n't, okay? Trust me on this. Terminator does n't get it. John just stares at him. Frightened at what just almost happened. He gets a glimpse of the responsibility that comes with power. Finally he hands the.45 back to Terminator, who puts it away. JOHN Look, I'm gon na go get my mom. You wan na come along, that's fine with me.", "INT. VOIGHT HOUSE/BEDROOM - NIGHT T - 1000 finds an envelope. a letter from Sarah to John sent since she's been at Pescadero State Hospital. It reads the return address on the envelope. It has what it needs. It picks up a tape player and the battered shoebox full of Sarah's tapes and exits. CLOSE ON A BLACK & WHITE PHOTOGRAPH. The image is a nightmare from the past. It is a surveillance camera still - frame from the L.A. police station where the first terminator made such an impression in 1984. We see the blurry forms of the cop frozen in the emergency lights of a burning corridor. A black - clad figure stands at the end of the corridor. The guy has short - cropped hair and dark glasses. An AR - 80 assault rifle in one hand, and a 12 - gauge in the other - holding them both like toy pistols. ANOTHER PHOTO is slapped on top of the first. Another still - frame blow - up is placed over the last. Terminator looms in CLOSEUP. DETECTIVE WEATHERSBY -LRB- O.S. -RRB- These were taken at the West Highland police station in 1984. You were there. WIDER. We're in - 59A INT. INTERVIEW ROOM/PESCADERO - NIGHT The photos are lying on the table in front of Sarah, placed there by DETECTIVE WEATHERSBY. His partner DET. MOSSBERG, and Dr. Silberman, sit at the table as well. Two uniformed cops, plus Douglas, stand by the door. Sarah stares listlessly at the top photo. She's withdrawn, haggard. drugged - looking. MOSSBERG He killed seventeen police officers that night. Recognize him? Weathersby slaps another black - and - white eight - by - ten on the table. A closeup of Terminator taken by the Japanese tourist at the mall. It's the same face. MOSSBERG This one was taken by a Japanese tourist today. Sarah does n't react. It's hard to tell she's thinking. Whether she's up hope or is just in a drugged stupor. WEATHERSBY Ms. Connor, you've been told that your son's missing. His foster parents have been murdered, and we know this guy's involved. Talk to us. Do n't you care? Sarah stares up at him. A cold and empty stare. He glances at Silberman. Then at his partner. MOSSBERG We're wasting out time. One of the uniformed cops opens the door and Mossberg strides into the hall. Weathersby and the two uniforms follow him out, with Silberman right behind. SILBERMAN Sorry, gentleman. TIGHT ON SARAH, slumped under the bright lights. Totally out of it. Then we see her hand, creeping along the edge of the table toward the stack of photos. She slips off the paper clip binding the stills together, and hides it between her fingers. Douglas jerks her up by the arms and leads her out.", "INT. SARAH'S CELL Douglas inches up the last of Sarah's restraints. Then her leans over her. looking down. Even wrecked as she is, we see the beauty in her face. He bends down. We think he's going to kiss her. Instead he runs his tongue across her face like a dog would. She seems not to even see him. Her dull eyes past him. He ca n't provoke a reaction. Even here, strapped down, the two of them alone, she give him no superiority. He smirks and leaves. We hear the sound of his night - stick tapping its way down the corridor, growing fainter. Sarah's eyes snap suddenly alert. There is intensity and resolve in them. She slips the paper clip out from between her fingers and awkwardly spreads it open into a straight piece of wire. With slow, painful concentration she moves it toward the lock of the restraints that bind her wrists to the bed at her sides.", "EXT. ROAD - NIGHT Terminator and John charge through the night on the Harley. Streetlights flare past them like comets. Two serious guys with a mission. One a ten - year old kid, the other a half - man/half - machine cyborg from the post - Apocalyptic future.", "INT. SARAH'S CELL TIGHT ON RESTRAINT LOCK as it unlatches. successfully picked by Sarah's paper clip. This is not an easy thing to do. But Sarah taught herself a lot of things in her years of hiding. SARAH, her hands free, sits up and releases the Velcro straps on her feet. She rolls off the bed and we see her in a whole new light. She is totally alert, almost feral in her movements.", "EXT. HOSPITAL ENTRANCE GUARD SHACK. A bored security guard glances up as an LAPD black - and - white pulls up. He raises the barricade and nods at the T - 1000/cop as it passes. THE CRUISER pulls in next to the other police vehicles. The T - 1000 walks toward the main entrance.", "INT. SARAH'S CELL/CORRIDOR Sarah is using the paper clip on the door lock. She hears an echoing tapping sound. It's getting louder, coming her way. She goes back to work on the lock. IN THE CORRIDOR. Douglas the attendant is tapping his stick along the wall like he does every night on his rounds. He shines a little mag - light in the windows of the cells as he passes, barely slowing. 65A He rounds the corner. His footsteps echo in the dark hallway. The tip of the stick hits the wall. Tap, tap, tap. getting closer to Sarah's cell. He stops at the door. He is about to shine his light in when he notices that a utility closet across the hall is open. He goes to shut it, absently flicking his light into the dark closet. He notices something strange among the buckets and cleaning supplies. A mop lies on the floor, with its handle snapped off about halfway up. The other half is missing. Douglas ponders this for half a second, then hears a SOUND behind him and spins around. The sound he heard was Sarah's cell door. The missing two feet of MOP HANDLE fill his vision as it CRACKS viciously across the bridge of his nose. 250 pounds of doughy attendant hit the floor like a sack of cement. Sarah slams the makeshift baton down expertly across the back of his head, bouncing him off the linoleum. Lights out, Douglas. She drags him into her cell and locks him in with his own keys. Then swaps her mop - handle for his nice heavy night - stick. 65B Sarah moves down the dark corridor, cat - stepping in her bare feet. She holds the baton like a pro, laid back along the forearm, police - style. She looks dangerous.", "INT. HOSPITAL ENTRANCE/CORRIDOR A long corridor ends at a reception area, which is closed, and a NIGHT RECEIVING DESK, which is a glass window where they can buzz you in through a heavy door. A NIGHT NURSE types at a desk nearby. She looks up at the sound of footsteps and sees a young cop -LRB- T - 1000 -RRB- walking toward her. T-1000 You have a Sarah Connor here? She assumes he's with the other cops. Smiles. NIGHT NURSE Running late, are n't you? She turns to the inner door to buzz him in and sees Silberman and the cops coming toward the door from the other side. NIGHT NURSE Your friends are on their way out now. When she turns back to the window, T - 1000's no longer there. She goes to the counter and leans out to see if he's at the drinking fountain or someplace. No. Reception is empty. And so is the long corridor beyond. She frowns. Too weird. 66A Silberman comes through the solenoid door with Mossberg and Weathersby, the two uniformed cops, and the hospital security guard. The guard retrieves his 9mm pistol from a lock - out box behind the night desk. Silberman faces him. SILBERMAN Lewis, see these gentleman out and them lock up for the night. The security guard nods. Silberman goes back into the secure area of the hospital and the cops walk down the long corridor to the main doors. No sign of T - 1000. Mossberg and the other cops exit, and the guard locks the door behind them. 66B The guard walks slowly back along the long corridor. The hall is dark, with the light at the night desk far ahead like a sanctuary. His footsteps ring hollowly on the tile floor. His keys jingle. 66C ANGLE ON FLOOR as the guard's feet pass through FRAME. An instant later the floor starts to move. It shivers and bulges upward like a liquid mass, still retaining the two - tone checkerboard of the tile. It hunches up silently into a quivering shadow in the darkness past the guard. 66D Up ahead we hear typing. The night nurse has her back to us, working. The guard stops as the drinking fountain. Bends to take a sip. Behind him the fluid mass as reaches six feet of height and begins to resolve rapidly into a human figure. It loses the color and texture of the tile and becomes. THE GUARD. T - 1000's mass has been spread out a quarter of an inch thick over several square yards of floor. The guard walked over the T - 1000, and his structure was sampled that instant. Now we see it drawing in and pulling up to form the figure of the guard. The T - 1000/Guard's feet are the last to form, the last of the `` liquid floor'' pulling in to form shiny black guard shoes. The shoes detach with a faint sucking sound from the real floor as the T - 1000/Guard takes its first step. 66E The real guard spins at the sound of footsteps to see. himself. He has one deeply disturbing moment to consider the ramifications of that. Then he sees his double calmly raise its hand and, inexplicably, points his right index finger directly at the real guard's face, about a foot away. In a split second, the finger spears out, elongating into a thin steel rod which snaps out like a stiletto, slamming into the guard's eye. It punches into the corner of the eye, past the eyeball like a trans - orbital lobotomy tool, and emerges from the back of the guard's skull. Life quietly empties from the guard's face. He is dead weight, hanging from the rod/finger with suddenly reacts - SSSNICK. As the guard slumps, the T - 1000 takes his weight easily with one hand and walks him, like it's carrying a suit on a hanger, back toward the night desk. The wounds are so tiny, no blood drips onto the floor. 66F ON THE NIGHT NURSE, glancing up as the T - 1000/Guard walks past, dragging something casually which she ca n't see because it's below the countertop. NIGHT NURSE Whatcha got, Lewis? T-1000/GUARD Just some trash. She nods, uninterested. Keeps typing. T - 1000 moves past, dragging the unseen guard toward a closet down the hall from the night receiving station. T - 1000/Guard removes the Browning High - Power pistol and the keys from the real guard's belt, then stuffs the body into the utility closet. 66G INT. CORRIDOR/NIGHT RECEIVING DESK T - 1000/Guard comes back out and glances at the nurse. T-1000/GUARD All set. She glances toward it. Sees the Beretta in its holster. NIGHT NURSE Got ta check the gun first, Lewis. T-1000/GUARD Yeah, sorry. T - 1000 opens the locker and blocks it from her view with its body as it mimes putting the gun in. 66H CLOSE ANGLE ON T - 1000'S CHEST, from inside the locker. Instead of setting the gun in the locker, it inserts the pistol into it own chest, where is disappears inside like it was dropped into a pot of hot fudge. It withdraws its hand. The chest is once again a surface that looks like cloth, buttons, name - tag etc.. You'd ever guess it was really an intelligent liquid metal. T - 1000 slams the locker door and waits as the nurse hits the button unlocking the door with a BUZZ - CLACK. T - 1000/Guard goes through.", "INT. ISOLATION SECURITY CHECKPOINT A small room before a short SALLY - PORT corridor designed to prevent violent inmates from making a run for it. There are doors at each end. The first one is barred like a jail - cell door, and the second is a steel fire door. The attendants have a video monitor with which they can see the corridor on the other side of the doors. The two bored attendants barely notice the T - 1000/Guard as it approaches. Looks briefly at a chart next to the door, seeing SARAH CONNOR is in # 19. 67A IN THE ISOLATION WARD, the T - 1000 passes a nurses' station which looks a cage, walled in by heavy metal mesh. Silberman, leaning in the open doorway, is talking to an attendant in the cage. He does n't glance twice at Lewis the Guard passing by. SARAH, moving like a ghost in the darkened corridor, hears footsteps coming and quietly but quickly unlocks a cell next to her with Douglas' master key. 68A She slips into the cell and waits as the footsteps pass. We glimpse the T - 1000/Guard pass the window. She waits as the footsteps fade away. She looks over. A female inmate, strapped to a bed, watches her with bird - like eyes. She puts a finger to her lips - SSHHH. The inmate nods. Sarah exits. 68B POV MOVING TOWARD nurse's station. We hear Silberman's voice, reviewing medication with the night attendant. ON SILBERMAN, yawning, looking at his watch. He turns to go. Sarah is there. She slams into him, hurling him through the door into the cage and follows him in. The orderly jumps up, going for his stunner, but she nails him with Douglas' baton. WHAP - WHAP - WHAP! You can barely see the thing she's swinging it so fast. The guys goes down. Silberman lunges for the alarm button and she cracks down hard on his arm. He cries out and grabs his wrist. She grabs him by the hair and slams him face down on the desk, smacking him behind the knees expertly with the baton. His legs buckle and he drops to his knees with his chin on the desk. She pins him with one hand. He face is full of outraged disbelief. SILBERMAN You broke my arm! SARAH There's 215 bones in the human body, motherfucker. That's one. Now do n't move! 68B Moving rapidly, she whips open a medication drawer and grabs a syringe. They keep a few of these handy for tranking unruly patients. She jams it into the orderly's butt and fires the whole shot. Still holding the empty syringe, she sees what she need next. They keep the toxic cleaning supplies in here to keep the inmates from drinking Drano. She grabs a plastic jug of LIQUID PLUM' R and slams it down on the desk inches from Silberman's eyes. She jams the empty syringe into the plastic jug. Draws back the plunger. The syringe fills with blue liquid. She whips it out of the jug and jams the needle into Silberman's neck. His horrified eyes rack toward it. 10 cc's of blue death fill the cylinder. Her thumb hovers over the plunger. She jerks him to his feet by the collar and gets a tight grip on him, then hauls him through the door. IN THE CORRIDOR outside cell # 19 the T - 1000 stops and looks in the window. Douglas, his face a bloody mess, yells to be heard. DOUGLAS Open the door! The goddamn bitch is loose in the halls! To Douglas' amazement, Lewis the Guard turns impassively and walks away, leaving him shouting soundlessly at the window.", "EXT. HOSPITAL Terminator and John are approaching the guard gate on the Harley. They can see the guard inside looks up at the sound of the engine. JOHN Now remember, you're not gon na kill anyone, right? TERMINATOR Right. John looks at him. He's not convinced. JOHN Swear. TERMINATOR What? JOHN Just say `` I swear I wo n't kill anyone.'' John holds his hand up, like he's being sworn in. Terminator stares at John a beat. Then mimics the gesture. TERMINATOR I swear I will not kill anyone. Terminator stops the bike and gets off. The guard, sensing trouble, has his gun drawn as he comes out of the shack. Terminator walks toward him drawing his.45 smoothly. BLAM! He shoots the guard accurately in the thigh. The guy drops, screaming and clutching his leg. Terminator kicks the guard's gun away, then smashes the phone in the shack with his fist. He pushes the button to raise the gate and walks back to the bike. TERMINATOR He'll live. Terminator climbs onto the bike. They drive toward the hospital, heading down an ambulance ramp to an underground receiving area.", "INT. ISOLATION FLOOR The attendants at the security checkpoint look up at the monitor as someone enters the corridor. They see Sarah, holding Silberman at syringe - point. Sarah speaks to them through an intercom on the wall. Her voice comes through the speaker. SARAH Open it or he'll be dead before he hits the floor. The attendants' adrenaline levels just went off the scale. The first attendant shakes him head no. The amperage here is really high. The second attendant keys the intercom switch. 2ND ATTENDANT There's no way, Connor. Let him go. Silberman's face is the color of suet. SILBERMAN It wo n't work, Sarah. You're no killer. I do n't believe you'd do it. Her voice is a deadly cold hiss. SARAH You're already dead, Silberman. Everybody here dies. You know I believe that. So do n't fuck with me! SILBERMAN Open the goddamn door! The attendants looks at one another. One of them hits the solenoid button. The far door unlocks. 71A IN THE LOCKOUT CORRIDOR. Sarah pushes Silberman ahead of her. The nearer, barred door must be unlocked manually. One of the attendants cautiously approaches. Nervously unlocks it. SARAH Step back! He does. She faces both of them. SARAH Down on the floor! Now! They comply. She comes through with Silberman, giving them a wide berth. Starts backing down the hall away from them, still holding her hostage. She's actually pulling this off. 71B ANGLE FROM BEHIND HER. What we can see, but she ca n't see, it a third orderly waiting just around the corner. He's poised, ready to jump her when she comes abreast of him. ON SARAH backing up. She reaches the corner. The third attendant lunges, grabbing her syringe - hand. Sarah spins on the orderly and catches him across the throat with the nightstick. He loses interest fast, dropping to his knees and gagging. Silberman pulls away, screaming at the top of his lungs SILBERMAN Get her! They scramble up as Sarah takes off like a shot around the corner. One of them hits the panic button and ALARMS begin to sound. IN THE ISOLATION WARD, the T - 1000 is looking in at a very stoned attendant inside the nurses' station when the alarms shriek through the halls. It reaches into its chest and pulls out the 9mm pistol. Heads for the security entrance. IN ANOTHER CORRIDOR in the maze of the vast hospital, Sarah flies past us, her bare feet slapping on the cold tiles. The orderlies charge after her. She's like an animal in a maze. She turns the corner, glancing off the wall, and sprints on without slowing. She reaches a steel door. Tries it. Locked. Footsteps like a drum solo behind her. She fumbles with Douglas' keys, breathing hard. Jams the master in. The orderlies are bearing down on her at full tilt. Sarah gets the door open. Dives through. Slams it. She turns a deadbolt knob just as the first orderly grabs the latch on the other side. He's too late. Sarah sees them beyond the window, fumbling with their keys. 73A Sarah is in another sally - port corridor. A jail - cell type barred door is between her and the corridors of the ward beyond. She sprints to the walls of bars, jams her key into the door. She unlocks and pulls open this door just as she hears the latch of the one she just came through being unlocked. She flings herself frantically through the barred door as the first orderly comes through behind her. She slams the bars shut. CLANG. Her keys are dangling from the lock on the other side from her. The orderly is racing at her, white - lipped with rage. She reaches back through the bars, turns the key, and purposefully snaps it off in the lock. An instant later the big orderly slams against the door, grabbing through the bars for her as she dances back just out of reach. He lunges against the steel bars, unbelievably pissed off. Sarah takes off running, looking back at the frustrated orderlies. They're shouting at each other, unable to fit their keys into the lock - The broken - off key tip makes it impossible to get their keys in. Silberman shouts at them. SILBERMAN Go around, goddamnit! Go around! The orderlies run back the way they came, and along a cross - corridor to another set of doors. 73B ON SARAH as she rounds a corner and sees the elevators ahead. Now she's home - free. At a full - tilt sprint, she's nearly there when the elevator doors part. TERMINATOR steps out. his head swivels to face her. Sarah reacts, stricken by the image from her worst nightmares. Her eyes go wide as momentum carries her forward. Her bare feet slip on the slick tile. She slams to the floor, staring up at the leather - clad figure with the shotgun. She loses all semblance of courage and some of her sanity. She's not even aware that she is screaming, or what would be screaming if she could get the breath to do it. In slowed - down dream - time, Sarah scrambles back along the floor like a crab, spinning and clawing her way to her feet along the wall. She runs like the wind, like in her nightmare. If she looked back she would have seen John step warily out of the corridor behind Terminator. John, however, catches a glimpse of the fleeing Sarah and figures out instantly what happened. JOHN Mom! Wait! Sarah does n't hear. She has clicked fully into her own nightmare. They take off running after Sarah. 73C She is pelting down the long corridor, back the way she came. As she reaches an intersection with a cross - corridor a white - clad figure blurs from that corridor. The orderly hits her in a flying tackle. She skids across the floor, shrieking and struggling. The other two orderlies leap into the fray. SARAH No! Help me! Goddamnit, it's gon na kill us all! She is shouting, pleading, trying to get them to understand what is coming. They grab her thrashing arms and legs. They do n't even look where the out - of - control woman is pointing. back along the corridor. They have pinned her to the cold tiles, a ring of faces above her. Silberman leans down to her, holding a syringe with a heavy dose of trank. Sarah cranes her neck and sees the dark silhouette of Terminator coming up behind them. It is exactly her nightmare. She screams in utter hopelessness. Terminator, holding the shotgun in one hand, reaches down and grabs one of the orderlies with his other hand. He hurls the 200 - pound guys against the far wall of the corridor. SMACK! He drops to the floor. The other two orderlies react instantly, leaping onto the intruder. Terminator seems to disappear for a moment under the two big guys. Then there is an explosion of white - clad figures, as the orderlies are flung outward like they stepped on a land mine. One crashes through a window of safety glass and is caught before a two - story fall by the outer steel bars. The other crashes through an office door, splintering it into kindling. Silberman has jumped to hold Sarah. He is grabbed by a roll of skin at the back of his neck and lifted like a cat. The doctor feel his feet pedaling above the ground. He looks into the expressionless face. And it hit him. Sarah was right. this guy is n't human. He feels the fabric of reality crumbling. Then he feels himself flying through the air. The wall smacks him, then the floor kicks him in the face. He decides to lie there a second. Sarah blinks, staring up at the figure looming over her. John kneels next to her. JOHN Mom, are you okay? She looks from Terminator to John. Back to Terminator. Is this a nightmare? Or has she finally gone truly bad? Incredibly, Terminator politely reaches his hand down to her, offering to help her up. The last thing she ever expected to see. TERMINATOR Come with me if you want to live. The orderlies are stirring. JOHN It's all right, Mom. He's here to help. Sarah, is a daze, takes the huge hand in her shaking fingers. Terminator lifts her to her feet. 73D John sees a GUARD standing thirty feet away, on the other side of the walls of bars. John does n't know what we know, but he knows something's not right with this guy. Terminator turns to follow John's gaze. The T - 1000 had its pistol in its hand, at its side. Terminator pushes John behind him. They start backing up. 73E The T - 1000 walks forward, reaching the bars. It does n't stop. Its body divides like jello around the bars. As it squeezes itself through like metal playdough, its surface reforms perfectly on our side. We see it deform and squeeze through like a viscous paste forced past an obstacle. Silberman has recovered enough to be sitting up and watching this. That faint snapping sound is his mind. There is a CLANK and we see that the guard's gun has caught against the bars. the only solid object. The T - 1000 turns its wrist and tries again, slipping the gun endwise through the gap. 73F Sarah is agape. Not reacting. It's been a heavy day for her. Terminator grabs John by the seat of his pants and hooks him up onto his back. John grabs him around the neck. Terminator raises the shotgun and starts backing up. TERMINATOR Go! Run! Sarah does n't need to be told twice. T - 1000 walks toward them, opening fire with the Browning Hi - Power. Terminator straight - arms the 12 - guage like a pistol and FIRES. The stunned orderlies flop face down on the floor as the corridor is filled with high - velocity lead. One of them, stupidly running for the cross - corridor, gets hit by the T - 1000. Terminator is hammered by several slugs, and the T - 1000 is cratered by two buckshots hits. It staggers, but comes on. In the craters we see bright mercury before they close and reseal, disappearing in a second. 73G Terminator makes it around the corner and breaks into a run. Ahead, Sarah is already at the elevator. Terminator and John pile in and John slaps the button for `` Garage Level''. The doors start to close. T - 1000 clears the corner. Terminator slams John and Sarah back against the side walls as the T - 1000 charges at them, rapid firing the Browning. The rounds hit the steel doors as they close. T - 1000 keeps pumping them at the closing gap. 73H Inside, they see the backside of the doors denting with the hits that are punching holes in the other side. 73I The Browning locks open, empty. T - 1000 drops it without a glance back. The doors close. K - WHAM! The T - 1000 hits them a split second later. The elevator has n't moved yet. SSWWIKK! 73J A sword - like blade rams through in between the doors, forcing them open. Terminator jams the shotgun through the widening gap. Punches the muzzle right INTO T - 1000's face - BOOM! 73K We get a glimpse of the T - 1000's head blown apart by the blast. It is hurtled back. The doors close. The car descends. 73L ON THE T - 1000, outside the elevator. Its head, which is blown apart into two doughy masses lying on the shoulders, reforms quickly. There is no trace of the injury. It sees the closed door and jams its hands between them, its fingertips becoming pry - bars. It pulls the doors apart with inhuman strength 73M and LEAPS INTO THE OPEN SHAFT. It falls two floors and. IN THE ELEVATOR. Out trio hears a loud THUMP on the roof. Terminator, reloading the shotgun, looks up. Sarah grabs the.45 from his waistband and aims it at the ceiling. BEAT. Then CLANGG! a swordlike shaft punches through the ceiling and spears down four feet into the elevator car. It is inches from Sarah's face. She opens fire, BAM - BAM - BAM - right through the roof. Lighting - fast the lance withdraws and thrusts down again, slashing Terminator's jacket, and missing John by inches. Terminator chambers a round and K - BOOM! the 12 - guage opens a hole in the ceiling. Terminator rocks out in a fury of firing/cocking/firing as the metal shafts slash down again and again. Sarah yells in pain as one of them slices open her upper arm. The doors open. Sarah pulls John out as soon as the gap is wide enough. They emerge into the basement. We see the Harley parked nearby. Terminator, in a rearguard action, fires another blast through the ceiling and runs out. He throws his leg over the Harley, kicks it to life with one powerful stroke and then whips something out of the inner pocket of his jacket. He throws it to John. A road flare! ? In the elevator, the T - 1000 has bashed a hole in the ceiling big enough to. Pour itself through. A massive blob of mercury extrudes from the opening. The mass drops through the hole, down out of frame, then comes back up into frame as Officer X. It seems to need just a second to get its mental act together after doing this king of taffy - pull with itself. It opens its eyes and sees - TERMINATOR, the shot gun held in his teeth, astride the roaring Harley twenty feet away. Terminator twists the throttle and pops the clutch. The back tire screams on the concrete. The front wheel lifts off the ground and the heavy bike launches in a thundering wheelie. Terminator gets off just before the bike hurtles into the elevator. The Harley slams the T - 1000 square and smashes it right through the back wall of the elevator. Terminator rolls to his feet. Johns strikes the flare on the concrete. Tosses it. Terminator catches the life flare with one hand. Levels the shotgun with the other. With his last round he blows a big hole in the bike's gas tank. Gas splashes everywhere, covering the struggling T - 1000. Terminator tosses the flare. KA - VOOOM! The explosion knocks Terminator backward off his feet, enveloping him in the fireball. He gets up, smoking, and runs after John and Sarah toward the exit ramp. AT THE EXIT RAMP. They are partway up when a blue - and - white hospital security car comes screeching down the other way. Without breaking stride Sarah runs right at the car. It skids to a shrieking halt. She's in the guy's face with the.45 in both hands. SARAH Out of the car! The patrol guy is thinking what he can try when BLAM! she puts a round through the glass next to his head. SARAH RIGHT NOW! The door opens and the guy is coming out with his hands up as Terminator arrives. The cyborg flings the rent - a - cop out of the way and slides behind the wheel. Sarah gets John into the back seat and dives into the front passenger seat as - 78A Terminator slams the car into reverse and punches it, lighting up the tires on the slick ramp. Terminator hands the shotgun over his shoulder to John and tells him to reload. John pulls some shells from the pocket of his army jacket and starts feeding them in. Terminator power backward up the ramp, scraping along one wall, barely in control. Because. The T - 1000 is running at them out of the inferno below. This guy wo n't quit. Shifting from chrome mode to cop - form as it runs. It sprints up the ramp after the retreating car. T - 1000 is gaining. Terminator hands Sarah another magazine for the.45. She snatches it, drops the other out, and slaps in the new one. Cocks the slide. The car backs along the service driveway toward the security gate. John hands the shot gun back to Terminator. He leans out the window and takes aim at the pursuer. The T - 1000's face is right in the headlights. 80A Terminator fires, blowing a hole in its shoulder. Shiny liquid metal visible in the hole, which then closes. 80B Sarah, half out the passenger window, opens fire. The car crashes backward through the security barricade. TERMINATOR -LRB- calmly. -RRB- Hang on. He cuts the wheel hard. The car slews into a reverse 180, swapping ends with a screech. T - 1000 is almost on them. Terminator punches it. The car accelerates forward. 80C T - 1000 leaps. Lands on the trunk. Its hand is a metal crowbar slammed down through the trunk lid. Feet dragging on the pavement, it slams its other hand down, punching another metal hook into the trunk lid, pulling itself up. Terminator turns to Sarah. TERMINATOR Drive. Terminator heaves himself half out the driver's window. Sarah slaps her foot down on the throttle and steers from the passenger side. 80D T - 1000, fully on the car now, holds on with one hook - hand while it slams the other into the back window, sweeping away the glass and missing John by inches as he ducks. It draws back for another swing, lunging forward as - 80E Terminator whips the shotgun over the roof of the car. Fires point - blank. Hits the T - 1000's arm just above the `` hand'' which anchors it to the car. The 12 - guage blows the arm apart, severing the hook - hand. 80F T - 1000 tumbles backward off the accelerating car. John looks out the back window, his eyes wide. He sees the T - 1000 roll to his feet and continue running. But he's dropping way behind now. Sarah has the car floored and the liquid - metal killer wo n't catch them on foot. 80G John watches, in awe, as the `` crowbar hand'', stuck into the trunk right in front of him, reverts to the neutral polyalloy. a kind of think mercury. The gray metal slides off the trunk of the car and falls onto the road to lie there in a quivering blob. 80H The car speeds off into the night. REVERSE on the T - 1000, walking now, coming right up into closeup, watching the tail lights recede. It looks down. 80I ANGLE ON BLACKTOP, tight on the liquid metal blob. Next to it is the T - 1000's shiny cop shoe. The mercury blob crawls and rejoins the main mass, disappearing into the `` shoe''.", "INT./EXT. SECURITY CAR A GHOST CAR blasts out of the darkness on a long stretch of moonlight highway. Headlights off, the hospital security car punches a hole in the wind. 81A INSIDE THE SPEEDING CAR the energy is still high. The air is blowing in the shattered windows as Terminator drives the car easily by electronic night - vision. His eyes glow faintly red. JOHN Can you see anything? 81B TERMINATOR'S POV. A monochrome image of the highway lit bright as day. 81C Terminator replies in a matter - of - fact tone. TERMINATOR Everything. JOHN Cool. Sarah looks at Terminator, still not quite believing this is happening. But this is a different Sarah than the waitress of 1984. She spends only a second or two dealing with the unbelievable. Then she turns to John in the back seat. SARAH You okay? He nods. She reaches for John and we think she's going to hug him. She starts to rub her hands over him and we realize she's checking for injuries, very clinically the way a vet checks a dog for broken bones. He pulls away from her. He hates her always checking him, treating him like he might break, like some piece of rare china. JOHN I said I was okay. Sarah looks at him, exasperated and stern. SARAH It was stupid of you to go there. John stares at her, surprised. SARAH Goddamnit, John, you have to be smarter than that. You're too important! You ca n't risk yourself, not even for me, do you understand? I can take care of myself. I was doing fine. Jesus, John. You almost got yourself killed. We see his chin quiver. He's a tough kid, but all he really wants is for her to love him. He has n't had enough years on the planet yet to be the man of steel she demands. JOHN I. had to get you out of the place. I'm sorry, I. His face crumples. He starts to cry. Sarah gives him a cold stare. SARAH Stop it! Right now! You ca n't cry, John. Other kids can afford to cry. You ca n't. He's trying to be brave, he really is. Terminator turns and sees the water leaking from his eyes. It does n't make and sense to him. TERMINATOR What is wrong with your eyes? John turns away, ashamed. Sarah lets her breath out, realizing how keyed up she is. She turns to Terminator, giving him a wary once - over. SARAH So what's your story?", "EXT. MENTAL HOSPITAL The cops have shown up, as they always do. There are black - and - whites everywhere, and ambulances are arriving. Two cops and an orderly are required to subdue poor Doctor Silberman, who is raving at the top of his lungs. SILBERMAN it was all true and we're all going to die and the changed, I saw him change! It's quite pathetic. A nurse shoots him up with a sedative. They lead him away. 82A T - 1000 walks unperturbed among the milling cops. No one notices him. It slips into its cruiser and drives off into the night.", "INT. CAR Terminator drives steadily into the black night. SARAH This T - 1000. what happens when you shoot it? TERMINATOR Ballistic penetration shocks it, but only for a few seconds. Sarah thinks about that. Then : SARAH Can it be destroyed? TERMINATOR Unknown. They ride along in silence for a few seconds. Sarah sees something up ahead, some lonely neon in the blackness. SARAH Pull in here. We have to ditch this car.", "EXT. SERVICE STATION - NIGHT A rundown gas station with a buzzing neon sign and no one around. They pull into the drive and slowly cruise past the empty office. A sign in the window says CLOSED SUNDAYS. They continue around the building to the garage's back door. AT THE GARAGE DOOR. Terminator breaks the lock on the roll - up door and raises it. Sarah pulls the security car in out of sight. Terminator rolls the door down behind them.", "INT. GAS STATION Dark. Sarah switches on the single drop - light. She and Terminator look at each other. Terminator is shot - up and bleeding, and Sarah has a vicious slash in her upper arm which was soaked her sleeve with blood. SARAH You look like handmade shit. TERMINATOR So do you. TIGHT ON FIRST - AID KIT from the office, plus some not - so - oily rags, a bottle of rubbing alcohol, a few small tools, and other makeshift odds and ends. Terminator's hand comes into shot. Sets down a bloody rag. Picks up a clean one. WIDER. Sarah sits on an empty crate. Terminator's is beside her, suturing her wound with some fine wire from the winding of an alternator. Using a pair of needlenose pliers he draws the wire through her pale skin with a delicate hand. TERMINATOR I have detailed files on human anatomy. Sarah stares into his face, inches away, fighting the pain. She does n't like him being this close to her to begin with, let alone carving on her. SARAH I'll bet. Makes you a more efficient killer, right? TERMINATOR Correct. TIGHT ON TERMINATOR'S BACK. The leather jacket is riddled with bullet holes. Sarah and John help pull it off, revealing Terminator's broad, muscular back beneath. WIDER. John and Sarah stare in amazement. There are at least twenty bullet holes in him. Back. Arms. Legs. Fortunately they're all 9mm. The holes are small and the damage cosmetic. JOHN Does it hurt? TERMINATOR I sense injuries. The data could be called pain. TIGHT ON SARAH AND TERMINATOR. Sarah starts washing the bullet holes in his broad back with alcohol. SARAH Will these heal up? Terminator nods. She reaches into the bloody wounds with pliers and finds the copper - jacketed bullets, flattening against the armored endoskeleton. Pulls them out. They CLINK one by one into a glass. SARAH That's good. Because if you ca n't pass for human, you wo n't be much good to us. She concentrates on removing the slugs. CLINK. CLINK. JOHN How long do you live? I mean, last? TERMINATOR A hundred and twenty years on my existing power cell. Sarah nods, pulling out another slug. CLINK. The glass nearly full of flattened bullets. She begins to sew the holes closed with a few wire sutures. John watches in quiet amazement, the two warriors calmly fixing each other. JOHN Can you learn? So you can be. you know. More human. Not such a dork all the time. Terminator turns towards him. TERMINATOR My CPU is a neural - net processor. a learning computer. But Skynet presets the switch to `` read - only'' when we are sent out alone. SARAH -LRB- cynical. -RRB- Does n't want you thinking too much, huh? TERMINATOR No. JOHN Can we reset the switch? E.C.U. OF AN X - ACTO KNIFE cutting into Terminator's scalp at the base of his skull. His voice calmly directs Sarah as she spreads the bloody incision and locates the maintenance port for the CPU in the chrome skull beneath. TERMINATOR Now open the port cover. She wipes away the blood and uses the garage - mechanic's air tools to unscrew the port cover. 88A TERMINATOR POV -LRB- DIGITIZED -RRB- as he watches her work in a mirror they've taken from the washroom. Sarah and John are standing behind him. Her hands are covered with blood, like a surgeon's. TERMINATOR Hold the CPU by its base tab. Pull. Following the instructions, she reaches in with a pair of tweezers and PULLS - there is a BURST OF STATIC and the screen goes BLACK. TIGHT ON JOHN AND SARAH looking at what she has removed. A reddish - brown ceramic rectangle with a connector on one end. About the size and shape of a domino. On close inspection it appears to be made up of small cubes connected together. It is identical to the shattered one in the vault at Cyberdyne Systems. Now we know it is that that Miles Dyson values so highly. The brain of a terminator. 89A WIDER. John walks around Terminator and looks at his face. Eyes open, he is completely inert. Dead. John lifts his huge hand. The dead servos whine sullenly as he forces them. It's like rigor mortis. He releases the hand and it stays in the lifted position. Sarah examines the CPU chip. JOHN Can you see the pin switch? She ignores him. See looks at Terminator. The back at the chip. Then she sets it on the work table and picks up a small sledge hammer. John realizes what she is about to do. Dives at her as the sledge is whistling down. JOHN No! He slaps his hand down over the chip. Sarah barely stops the sledge before smashing his fingers. SARAH Out of the way, John! JOHN No! Do n't kill him! SARAH It, John. Not him. It. JOHN Alright, it! We need it! John keeps his hand right where it is. SARAH We're better off by ourselves. JOHN But it's the only proof we have to the future. about the war and all that. SARAH I do n't trust it! These things are hard to kill, John, believe me, I know. We may never have this opportunity again. JOHN Look, Mom, if I'm supposed to ever be this great leader, you should start listening to my leadership ideas once in a while.'Cause if you wo n't, nobody else will. Smart kid. He's got her. She nods, reluctantly. He palms the chip and studies it minutely. 89B John takes a pin and moves the almost invisible switch to the other position. It is now in `` write'' mode. Then he grimaces as he inserts the wafer back into the slot in Terminator's skull. 89C TERMINATOR VISION flares back to life in a burst of static. The image forms. Sarah and John stands behind him in the mirror. TERMINATOR Was there a problem? John glances sheepishly at Sarah, Then smiles at Terminator. JOHN No problem. None whatsoever. JOHN SLEEPING, lying on a pile of rags next to a stack of tires. The lights are off. Sarah sits nearby, cross - legged, he back against the wall. The.45 is cradles in her lap. She looks weary, but she wo n't allow herself to sleep with Terminator present. By the office windows, in a slash of moonlight, is Terminator. He stands silent and still, watching the night. Only his eyes move, tracking with the occasional car passing on the road. He figure silhouetted and still. SAME IMAGE. Now DAYLIGHT streams in the dusty windows. Terminator has not moved. Faithful machine sentinel. He turns at a sound. John stirs, waking up. He squints into the sunlight. Sarah is still awake. She gets up, wincing at the pain in her arm.", "EXT. GAS STATION - DAY (LATER) John and Terminator walks to an old Chevy pickup parked behind the garage. The day is clear but windy. Dust devils chase themselves behind the place. The pickup is locked but Terminator breaks the side window with his fist and opens the door. He and John climb in. 92A IN THE PICKUP. Terminator has this trick -LRB- which you could do too if you had servo - driven steel fingers -RRB- where he smashes the cowl around a steering column with one blow from the palm of his hand. When it shatters he strips it away with a single move, and then turns the stub of the lock - mechanism with his fingertips. This starts the vehicle. It takes about three seconds. In fact, he does it so quickly, the truck is running by the time John flips down the sun visor. A set of keys drops out and John catches them. Dangles them in front of Terminator's eyes. JOHN Are we learning yet? 92B Sarah comes out. She's found a mechanic's coverall inside, used but fairly clean. It does n't fit her too well, but it's better than the stuff from the hospital. She's still barefoot. The sun, which she has n't seen in months, hurts her eyes, Terminator and John pull up in the pickup. She gets in. 92C TERMINATOR We need to get as far from the city as possible. SARAH Just head south.", "INT./EXT. PICKUP TRUCK/HIGHWAY - DAY THE OPEN ROAD. The pickup roars through light traffic down a long stretch of highway. They set three abreast on the bench seat, John in between, like some improbable family on a car trip. Sarah leans over to get a look at the speedometer. SARAH Keep it under sixty - five. We ca n't afford to be pulled over. Terminator backs off the throttle slightly. TERMINATOR Affirmative. JOHN No, no, no. You got ta listen to the way people talk. See, you do n't say like `` Affirmative'' or some shit like that. You say. no problemo. Terminator nods, filing away the information. Sarah is ignoring the lesson, lost in thought. JOHN It someone comes off to you with an attitude, you say `` eat me''. if you wan na shine them on, it's `` Hasta la vista, baby''. TERMINATOR `` Hasta la vista, baby''? JOHN Yeah, or `` later, dickwad.'' Or if someone gets upset you say `` chill out.'' Like that. Or you can do combinations. TERMINATOR Chill out, dickwad. JOHN That's great! See, you're getting it. TERMINATOR No problemo. 94 - 95 OMITTED", "EXT. ROADSIDE STAND/GAS STATION - DAY There's a gas pump and a sleazy fast - food stand. Picnic tables are set up at the side of the food stand. A family sits at one, children playing and running about. 96A The pickup truck pulls into the lot. Stops at the gas pump. Sarah turns to John. SARAH You got any cash? John pulls what's left of his Ready - Teller money from his pocket. JOHN Only a couple hundred bucks. I'll give you half. Sarah grabs all of it. Peels off a twenty, hands it to John. SARAH Get some food. She opens the truck door and steps out. John turns to Terminator. JOHN No sense of humor. THE ORDERING WINDOW as John and Terminator approach. JOHN And that's another thing. You could lighten up a bit, yourself. This severe routine is getting old. Smile once in a while. TERMINATOR Smile? JOHN Yeah. Smile. You know. People smile, right? Watch. Goes to the order window. JOHN -LRB- smiling broadly. -RRB- Hi. Nice place you got here. How's business? WINDOW WOMAN -LRB- stone - faced. -RRB- Gim me a break. JOHN -LRB- to Terminator. -RRB- Okay. Bad example. Over there, look. John points at THREE TEENAGE GUYS standing at a drinking fountain nearby. One of them has said something funny and the others are laughing, grinning. JOHN Like that. TERMINATOR POV -LRB- DIGITIZED -RRB- The real - time image continues while a replay of one of the guys grinning runs in a window. It expands, so that the guy's mouth fills the window. Replays again in slow motion. A vector - graphic of the lips smiling appears, along with an array of symbolic data. Terminator tries it. The result is dismal. A rictus - like curling of the lip. Terminator's next effort is a marginal improvement. JOHN I do n't know, maybe you could practice in front of a mirror or something.", "EXT. REST STOP/PICKUP TRUCK - DAY (LATER) Sarah and John are eating cheeseburgers and fries, sitting in the truck and on the curb respectively. They are parked away from the other families, at the end of the gravel parking area. Terminator is pouring coolant into the radiator. Sarah is deep in through, turning and turning the whole thing in her brain. John, unable to deal with her silence, goes around to where Terminator is working. 98A John sees two kids playing with machine - gun water pistols nearby, viciously squirting each other. FIRST KID You're dead! SECOND KID Am not! FIRST KID Are so! John and Terminator watch them rolling on the ground in a fight to the death. Sarah rounds the front of the truck, and sees the kids. John sighs, solemn. He looks up at the cyborg. JOHN We're not gon na make it, are we? People, I mean. TERMINATOR It is in your nature to destroy yourselves. John nods, depressed. JOHN Yeah. Drag, huh? SARAH I need to know how Skynet get built. Who's responsible? TERMINATOR The man most directly responsible is Miles Bennet Dyson, Director of Special Projects at Cyberdyne Systems Corporation. SARAH Why him? TERMINATOR In a few months he creates a revolutionary type of mircoprocessor. SARAH Then what? 98B Terminator closes the hood and gets into the truck as he speaks. TERMINATOR In three years Cyberdyne will become the largest supplier of military computer systems. All stealth bombers are upgraded with Cyberdyne computers, becoming fully unmanned, Afterward, the fly with a perfect operational record. SARAH -LRB- getting behind John. -RRB- Uh huh, great. Then those fat fucks in Washington figure, what the hell, let a computer run the whole show, right? TERMINATOR Basically. -LRB- starting the engine, backing out. -RRB- The Skynet funding bill is passed. The system goes on - line August 4th, 1997. Human decisions are removed from strategic defense. Skynet begins to learn, at a geometric rate. It becomes self - aware at 2:14 a.m. eastern time, August 29. In a panic, they try to pull the plug. SARAH And Skynet fights back. They accelerate back onto the highway. TERMINATOR Yes. It launches its ICBMs against their targets in Russia. SARAH Why attack Russia? TERMINATOR Because Skynet knows the Russian counter - strike will remove its enemies here. SARAH Jesus. -LRB- beat, then. -RRB- How much do you know about Dyson? TERMINATOR I have detailed files. SARAH I want to know everything. What he looks like. Where he lives. Everything.", "INT. DYSON HOUSE - DAY Miles Dyson sits at the huge desk in his study. He is deep in thought, tapping away at the keyboard of his home computer terminal. Next to desk are racks of sophisticated gear. On a Sunday morning, when most men are relaxing, spending time with their families, Dyson is hard at work. IN A PROFILE CLOSEUP we see him in deep concentration, his mind prowling the labyrinth of his new microprocessor. A WOMAN'S FACE ENTERS FRAME soundlessly behind him. He does n't hear her. His wife, TARISSA, extends her tongue and traces it down the back of his neck. He smiles and turns to kiss her good morning. She's still in her bathrobe, holding coffee. He's been up for hours. He turns and goes back to work, forgetting instantly that she is standing there. She watches him work, the arcane symbols moving across the screen. We see her frustration, her inability to truly enter the magic box of his world. TARISSA You going to work all day? DYSON I'm sorry, baby. This thing is just kicking my ass. I thought we had it with this one. He points to a metal box on his desk, about two feet long. As assembly of small cubes. It looks like a dinosaur version of Terminator's CPU. DYSON but the output went to shit after three seconds. I'm thinking now it's the way I'm matrixing the command hierarchies. TARISSA You need a break. You'll see it clear when you come back. DYSON I ca n't TARISSA Miles, it's Sunday. You promised to take the kids to Raging Waters today. DYSON Oh. I ca n't, honey. I'm on a roll here. He takes her hands. We see a childlike excitement in his face. He wants so badly to share the almost orgasmic thrill of discovery, the satisfaction of creation. DYSON Baby, this thing is going to blow'em all away. It's a neural - net process - TARISSA I know. You told me. It's a neural - net processor. It thinks and learns like we do. It's superconducting at room temperature. Other computer are pocket calculators by comparison. -LRB- she pulls away from him. -RRB- But why is that so goddamn important, Miles? I really need to know,'cause I feel like I'm going crazy here, sometimes. DYSON I'm sorry, honey, it's just that I'm thiiis close. He holds up his thumb and index finger. a fraction of an inch apart. She picks up the prototype. It does n't look like much. DYSON Imagine a jetline with a pilot that never makes a mistake, never gets tired, never shows up to work with a hangover. -LRB- he taps the prototype. -RRB- Meet the pilot. TARISSA Why did you marry me, Miles? Why did we have these two children? You do n't need us. Your heart and your mind are in here. -LRB- she stares at the metal box in her hands. -RRB- But it does n't love you like we do. He takes the anodized box from her hands and sets it down. Then he puts his hands on her shoulders and kisses her gently. She acquiesces to his kiss. DYSON I'm sorry. Tarissa glances over his shoulder. She nods her head toward the doorway to the study. Dyson turns and sees their two kids standing there. Danny -LRB- 6 -RRB- and Blythe -LRB- 4 -RRB- look rumpled and adorable in their PJs. Dyson wilts at their hopeful expressions. TARISSA How about spending some time with your other babies? Dyson grins. The forces of darkness have lost this round. He holds out his hands and his kids run to him, cheering. A100 EXT.. DESERT/COMPOUND - DAY The desert northwest of Calexico. Burning under the sun like a hallucination. Heat shimmers the image, mirage - like. Terminator turns the pickup off the paved road and barrels along a roadbed a sand and gravel, trailing a huge plume of dust. A sign at the turnoff says : CHARON MESA 2 MI CALEXICO 15 MI A101 AHEAD is a pathetic oasis of humanity in the vast wasteland, a couple of aging house - trailers, surrounded by assorted junk vehicles and desert - style trash. There is a dirt airstrip behind the trailers, and a stripped Huey helicopter sitting on block nearby. The truck rolls to a stop in a cloud of dust. The place looks deserted. The door to the nearest trailer bangs in the wind. SARAH -LRB- to Terminator and John. -RRB- Stay in the truck. A102 ANGLE FROM INSIDE ANOTHER TRAILER, NEARBY. A DARK FIGURE in the F.G. has an AK - 47 trained on the pickup as Sarah gets out. ON SARAH peering through the backlit dust. The sound of wind. She approaches the trailer. SARAH -LRB- in Spanish. -RRB- Enrique? You here? She hears KACHANK! behind her and spins, whipping out her.45 in one motion. ENRIQUE SALCEDA stands behind a rusting jeep, a 12 - gauge pump trained on her. He is mid - forties, a tough Guatemalan with a weathered face and heavy mustache. He wears cowboy boots and a flak vest, no shirt. SALCEDA You pretty jumpy, Connor. His fierce face breaks into a broad grin. The shotgun drops to his side as he walks toward her. When he reaches her he hugs her, then steps back. SALCEDA -LRB- in Spanish. -RRB- Good to see you, Connor. I knew you'd make it back here sooner or later. He grins at John as he steps from the truck, and then clocks Terminator getting out. SALCEDA Oye, Big John! Que pasa? Who's your very large friend? JOHN -LRB- perfect Spanish. -RRB- He's cool, Enrique. He's. uh. this is my Uncle Bob. -LRB- to Terminator, in English. -RRB- Uncle Bob, this is Enrique. Terminator smiles. Sort of. Salceda squints at him, SALCEDA Hmmm. Uncle Bob, huh? Okay. -LRB- yelling. -RRB- Yolanda. Get out here, we got company. And bring some fucking tequila! A thin Guatemalan KID, FRANCO, eighteen or so, comes out of the trailer with the AK - 47, followed by Salceda's wife, YOLANDA. She has THREE younger children with her, from a five - year - old GIRL, JUANITA, to a year - and - half - old BOY. She waves at John. They exchange greetings in Spanish. They seem like nice people. Terminator looks down at John, next to him. He says quietly. TERMINATOR Uncle Bob? SALCEDA -LRB- to Sarah. -RRB- So, Sarahlita, you getting famous, you know that? All over the goddamn TV. Salceda rips the cap off the tequila bottle. The two - year - old toddles to Terminator and grabs his pants, sliming them with drool. Terminator looks down at the tiny kid, fascinated. What is it? He picks up the child with one huge hand. Looks at it. Turns it different ways. Studying it. Then sets it down. The kid waddles off, a little dizzy. SALCEDA Honey, take Pacolito. Thanks, baby. She hands him the tequila and takes the child. Salceda takes a long pull from the Cuervo bottle. SALCEDA -LRB- to Terminator. -RRB- Drink? Terminator gestures `` no'' at the proffered bottle, but Sarah grabs it and takes a long pull. She lowers it without expression. Her eyes do n't even water. SARAH I just came for my stuff. And I need clothes, food, and one of your trucks. SALCEDA -LRB- grinning. -RRB- Hey, how about the fillings out of my fucking teeth while you're at it? SARAH Now, Enrique. -LRB- turns to Terminator and John. -RRB- You two are on weapons detail. A103 EXT.. COMPOUND/BEHIND THE TRAILERS There is an aging and rusted Caterpillar sitting behind one of the trailers. John expertly backs it toward Terminator who is holding one end of a piece of heavy chain which disappears into the sand. JOHN Hook it on. Terminator hooks the chain onto the towhook on the back of the tractor. John hits the throttle and the Cat churns its treads, pulling some massive load. A six - by - eight foot sheet of steel plate moves slowly under six inches of sand. John drags it far enough to reveal. a rectangular hole in the ground. Like the mouth of a tomb. The kid drops down from the tractor and walks to the hole. JOHN One thing about my mom. she always plans ahead. A104 INT. WEAPONS CACHE From inside the `` tomb''. Sunlight slashes down into a cinder - block room, less than six feet wide but over twenty long. Sand spills down the steps. The walls are lined with guns. John precedes Terminator into Sarah's weapons cache. Rifles, pistols, rocket launchers, mortars, RPGs, radio gear. At the far end, boxes containing ammo, grenades, etc. are stacked to the ceiling. Terminator gets real alert. Scanning, wondering where to begin. He picks up a MAC - 10 machine pistol. Racks the bolt. TERMINATOR Excellent. JOHN Yeah, I thought you'd like this place. A105 EXT.. COMPOUND/NEARBY Sarah emerges from a trailer. She has changed. Boots, black fatigue pants, T - shirt. Shades. She looks hard. Salceda is nearby, packing food and other survival equipment with Yolanda. He looks up as Sarah approaches, and slaps the side of a BIG FOUR - BY BRONCO next to him, SALCEDA This is the best truck, but the water pump is blown. You got the time to change it out? SARAH Yeah. I'm gon na wait till dark to cross the border. -LRB- she pulls him away from Yolanda. -RRB- Enrique, it's dangerous for you here. You get out tonight, too, okay? SALCEDA Yeah, Saralita. Sure. -LRB- he grins. -RRB- Just drop by any time and totally fuck up my life. She slaps him on the shoulder. A106 INT. WEAPONS CACHE Terminator returns from carrying out several cases of ammo. John is selecting rifles from a long rack. JOHN See, I grew up in places like this, so I just thought it was how people lived. riding around in helicopters. Learning how to blow shit up. John grabs an AK - 47 and racks the bolt with a practiced action. Inspects the receiver for wear. Does n't like what he sees. Puts is back. His movement are efficient. Professional. Uninterested. JOHN Then, when Mom got busted I got put in a regular school. The other kids were, like, into Nintendo. Terminator has found a Vietnam - era `` blooper'' M - 79 grenade launcher. A very crude but effective weapon. He opens the breech and inspects the bore. JOHN Are you ever afraid? Terminator pauses for a second. The thought never occurred to him. He searches him mind for the answer. TERMINATOR No. Terminator slings the M - 79 and starts looking for the grenades. JOHN Not even of dying? TERMINATOR No. JOHN You do n't feel any emotion about it one way or the other? TERMINATOR No. I have to stay functional until my mission is complete. Then it does n't matter. John is idly spinning a Sig Saur 9mm pistol on his finger. backwards and forwards like Bat Masteron. JOHN Yeah. I have to stay functional too. -LRB- sing - songy. -RRB- `` I'm too important''. Terminator pulls back a canvas tarp, revealing a squat, heavy weapon with six barrels clustered in a blunt cylinder. Chain - ammo is fed from a canister sitting next to it. A G.E. MINI - GUN. The most fearsome anti - personnel weapon of the Vietnam era. Terminator hefts it. Looks at John as if to say `` Can I? Please?'' JOHN It's definitely you. A107 EXT.. COMPOUND - DAY/LATER Sarah and John have their weapons and supply selections laided out on two battered picnic tables for cleaning and packing. Maps, radios, documents, explosives, detonators. just the basics. Sarah is field - stripping and cleaning guns, very methodical. There is no wasted motion. Not far away, John and Terminator are working on the Bronco. They're greasy up to their elbows, lying on their backs under the engine compartment, ratcheting bolts into places on the new water pump. JOHN There was this one guy that was kinda cool. He taught me engines. Hold this a second. Mom screwed it up, of course. Sooner or later she'd always tell them about Judgment Day and me being this world leader and that's be all she wrote. John thinks he's being causal, but his longing for some kind of parental connection is obvious. TERMINATOR Torque wrench please. JOHN Here. I wish I coulda met my real dad. TERMINATOR You will. JOHN Yeah. I guess so. My mom says when I'm, like, 45, I think, I send him back through time to 1984. But right now he has n't even been born yet. Man, is messes with your head. Where's that other bolt? -LRB- Terminator hands it to him. -RRB- Thanks. Mom and him were only together for one night, but she still loves him, I guess. I see her crying sometimes. She denies it totally, of course. Like she says she got something in her eye. They crawl out from under the truck into the bright sunlight. TERMINATOR Why do you cry? JOHN You mean people? I do n't know. We just cry. You know. When it hurts. TERMINATOR Pain causes it? JOHN Uh - unh, no, it's different. It's when there's nothing wrong with you but you hurt anyway. You get it? TERMINATOR No. Terminator gets into the Bronco and turns the ignition key and the engine catches with a roar. JOHN Alriight! My man! TERMINATOR No problemo. John grins and does a victorious thumbs up. Terminator imitates the gesture awkwardly. John laughs and makes him get out of the truck, to try the move again. A108 SARAH, across the compound, pauses in her work to watch John and Terminator. A109 SARAH'S POV. we do n't hear what John and Terminator are saying. It is a soundless pantomime as John is trying to show some other gestures to the cyborg. Trying to get him to walk more casually. John walks, then Terminator tries it, then John gestures wildly, talking very fast. explaining the fundamental principles of cool. They try it again. Continued ad lib as we hear : SARAH -LRB- V.O. -RRB- Watching John with the machine, it was suddenly so clear. The Terminator would never stop, it would never leave him. it would always be there. And it would never hurt him, never shout at him or get drunk and hit him, or say it could n't spend time with him because it was too busy. And it would die to protect him. Of all the would - be fathers who came and went over the years, this thing, this machine, was the only one who measured up. In an insane world, it was the sanest choice. Sarah clenches her jaw and goes grimly back to work. a strong woman made hard and cold by years of hard choices. CUT TO ; A110 EXT.. ROAD - DAY A police cruiser is parked off the side of a quiet, empty road on the outskirts of Los Angeles. A ribbon of traffic moves steadily by on a freeway in the distance. Nothing stirs around the cruiser except some pump - jacks sucking the earth on the hill behind it. A111 IN THE CRUISER. The T - 1000 sits inside. John's notes and letters are spread out on the seat beside it. Sarah's voice speaks from a cassette deck. John's tapes. Her voices mixes with the static filled chatter of the radio that T - 1000 monitors for any signs of its targets. SARAH if we are ever separated, and ca n't make contact, go to Enrique's airstrip. I'll rendezvous with you there. T - 1000 whips around and rewinds the tape, replaying the last section. It then snaps up the envelope of photos we saw earlier. ECU on envelope. We see the postmark : `` Charon Mesa, Calif.'' TIGHT ON T - 1000 staring at the postmark on the envelope. It glances up at the sound of crunching gravel. In the rear - view it sees a BIKE COP pulling onto the shoulder behind it. The big KAWASAKI 1100 idles up next to the T - 1000, still seated in the cruiser. BIKE COP Howdy. I saw you pulled over here earlier. Everything okay? T-1000 Everything's fine. Thanks for checking. -LRB- it gets slowly out of the car. -RRB- Since you're here, though, can I talk to you a second. A112 EXT.. HIGHWAY - DAY/MINUTES LATER The T - 1000 thunders along on the Kawasaki 1100, doing about a hundred and twenty. PAN WITH IT until it recedes toward the horizon. A113 EXT.. COMPOUND - DAY -LRB- LATE AFTERNOON -RRB- Sarah sits at the picnic table. The weapons are cleaned and her work is done. She has n't slept in twenty - four hours and she seems to have the weight of the whole world on her shoulder. She draws her knife from its belt sheath. Idly starts to carve something on the table top. the letter `` N''. A114 NOT FAR AWAY, John and Terminator are packing the Bronco for the trip. A115 ON SARAH, AT THE TABLE as she looks up from her carving, thinking. She watches Salceda's kids playing nearby. wrestling with a mutty dog and loving it. Sarah watches Yolanda walking her toddler by her hands. Backlit, stylized. She looks over at John. Loading guns and supplies. A116 ANGLE ON kids playing. A117 SARAH'S HEAD droops. She closes her eyes. A118 TIGHT ON small children playing. Different ones. Wider now, to reveal a playground in a park. Very idyllic. A dream playground, crowded with laughing children playing on swings, slides, and a jungle gym. It could be the playground we saw melted and frozen in the post - nuclear desolation of 2029. But here the grass is vibrant green and the sun is shining. 118A Sarah, short - haired, looking drab and paramilitary, stands outside the playground. An outsider. Her fingers are hooked in a chain - link fence and she is staring through the fence at the young mothers playing with their kids. A grim - faced harbinger. 118B Some girls play skip - rope. Their sing - song weaves through the random burbling laughter of the kids. One of the young mothers walks her two - year - old son by the hands. She is wearing a pink waitress uniform. She turns to us, laughing. It is Sarah. Beautiful. Radiant. Sarah from another life, uncontaminated by the dark future. She glances at the strange woman beyond the fence. 118C Grim - faced Sarah presses against the fence. She starts shouting at them in SLOW MOTION. No sound comes from her mouth. She grabs the fence in frustration, shaking it. Screaming soundlessly. Waitress Sarah's smile falls. Then returns as her little boy throws some sand at her. She laughs, turns away, as if the woman at the fence were a shadow, a trick of light. 118D - 118F OMITTED 118G THE SKY EXPLODES. The children ignite like match heads. Sarah is burning, screaming silently, everything silent and overexposed. 118H THE BLAST WAVE HITS. devouring the cowering mothers and children. Sarah's scream merges with the howl of the wind as the shockwave rips into her, blasting her apart and she. Wakes up. All is quiet and normal. The children are still playing nearby. Less than fifteen minutes have gone by. Bathed in sweat, Sarah sits hunched over the table. Every muscle is shaking. She is gasping. Sarah struggles to breathe, running her hand through her hair which is soaked with sweat, She can escape from the hospital, but she ca n't escape from the madness which haunts her. She looks down at the words she has carved on the table, amid the scrawled hearts and bird - droppings. They are : `` NO FATE.'' Something changes in her eyes. She slams her knife down in the table top, embedding it deeply in the words. Then gets up suddenly and we - A120 LONG LENS on Sarah walking toward us, striding across the compound with grim purpose. She carries a small nylon pack and a CAR - 15 assault rifle. Her face is an impassive mask. She has become a terminator. A120A JOHN LOOKS UP from his work in time to see Sarah throw the rifle behind the seat of their stolen pickup, jump in and start it. She slams it in gear. Salceda walks up to John. SALCEDA She said you go south with him. -LRB- he points at Terminator. -RRB-. tonight, like you planned. She will meet you tomorrow in. But John is moving, running after her. JOHN Mommm! Wait! A120B MOVING WITH SARAH as she leaves the compound. We see John running after her. yelling. Ca n't hear his words. She looks in the rear - view mirror but does n't slow down. A121 EXT.. COMPOUND - DUSK/MINUTES LATER John and Terminator ponders the message carved into the top of the picnic table. Sarah's knife is still embedded there. JOHN `` No fate.'' No fate but what we make. My father told her this. I mean I made him memorize it, up in the future, as a message to her - Never mind. Okay, the whole thing goes `` The future is not set. There is no fate but what we make for ourselves.'' TERMINATOR She intends to change the future somehow. JOHN I guess, yeah -. -LRB- snaps his fingers as it hit him. -RRB- Oh shit! TERMINATOR Dyson. JOHN Yeah, got ta be! Miles Dyson! She's gon na blow him away! John motions to Terminator and breaks into a run. JOHN Come on. Let's go. LET'S GO! A122 INT. / EXT.. SARAH'S JEEP - DUSK Sarah speeds through the darkening desert. Expressionless. In her dark glasses, she looks as pitiless as an insect. A123 EXT.. HIGHWAY - NIGHT TRACKING WITH THE BRONCO, Terminator and John heading toward L.A. TERMINATOR This is tactically dangerous. JOHN Drive faster. TERMINATOR The T - 1000 has the same files that I do. It could anticipate this move and reacquire you at Dyson's house. JOHN I do n't care. We've got ta stop her. TERMINATOR Killing Dyson might actually prevent the war. JOHN I do n't care! There's got ta be another way. Have n't you learned anything?! Have n't you figured out why you ca n't kill people? Terminator is still stumped. JOHN Look, maybe you do n't care if you live or die. But everybody's not like that! Okay?! We have feelings. We hurt. We're afraid. You got ta learn this stuff, man, I'm not kidding. It's important. PANNING as they pass, revealing the lights of the city ahead. A124 EXT, DYSON'S HOUSE - NIGHT The house is high - tech and luxurious. Lots of glass. Dyson's study is lit bluish with the glow of his computer monitors. He is at the terminal, working. Where else? We see him clearly in a long shot from an embankment behind the house. A DARK FIGURE moves into the foreground. Rack focus to Sarah as she turns into profile. She raises the CAR - 15 rifle and begins screwing the long heavy cylinder of a sound - suppresser onto the end of the barrel. A125 - A125K OMITTED OMITTED 129A INT. DYSON HOUSE Dyson's kids, Danny and Blythe, are playing in the halls with a radio - controlled off - road truck. Danny drives and Blythe scampers after it, trying to catch it. They stop in the hall outside Dyson's study and sees him working at his terminal. Danny puts a finger to his lips, shushing Blythe. His expression is mischievous. 129B With the silencer in place, Sarah eases back the bolt and then slips it forward, chambering a.223 round. Then she lies down on the embankment. He cheek pressed against the cool rifle - stock, she slides one hand slowly forward to brace the weapon, taking the weight on her elbow. Her other hand slips knowingly to the trigger. Her expression is cold, impassive. She looks through the scope at the man in the house. She feels nothing as she raises the rifle. OMITTED 130A INT. DYSON'S HOUSE DYSON, in deep thought. The rhythmic sounds of keys as he works. Symbols on the screen shift. ON HIS BACK we see the glowing red dot appear. It is the target dot of Sarah's laser designator. It moves silently up his back toward his head.", "EXT. DYSON HOUSE/EMBANKMENT IN EXTREME CLOSEUP we see Sarah's eye at the night - scope. TIGHT INSERT on her finger as it tightens on the trigger, taking out the slack. She takes a deep breath and holds it. Adjusts her position minutely.", "INT. DYSON HOUSE The laser dot jiggles on the back of Dyson's neck and then rises, centering on the back of his skull. 132A LOW ANGLE as Danny's Bigfoot truck roars toward us - FILLING FRAME. Thump. It hits Dyson's foot. He jerks, startled, and looks down as - POP! 132B His monitor screen is BLOWN OUT spraying his with glass. He jerks back, utterly shocked. and spins to see the huge hole blown through the window behind him. This saves him as K - THUMP! - the second shot blows the top of his high - backed chain into an explosion of stuffing an inch from his head. Instinctively he dives to the carpet as - BLAM BLAM BLAM - rounds blast through the window, tearing into his desk and computer, blowing his keyboard into shrapnel. 132C With the monitor screen blown out, the room is in darkness. Sarah ca n't see Dyson now, down behind his desk. She puts round after round into the heavy desk, blasting one side of it into kindling. 132D Dyson, scared out of his mind, has his face jammed against the carpet, terrified to move. He sees his kids in the hall. DYSON Run, kids! Go! Run! 132E IN THE HALL, TARISSA rounds the corner at a dead run. She sees the kids running toward her and grabs them in her arms. Down the hall, in the dark study, she sees Dyson on the floor amid the splinters and shrapnel of the continuing fusillade. TARISSA Miles! Oh my God! MILES Stay back! 132F ON THE FLOOR, Dyson flinches as chucks of wood and shattered computer components shower down on him. He looks desperately toward the door, but knows he'd be totally exposed. He'd never make it. SARAH's rifle empties with a final CLACK! She throws it down and draws her.45 smoothly from a shoulder base. She starts toward the house, snapping back the slide on the pistol, chambering a round. She is in a fast, purposeful walk, keeping her eyes fixed on the target. She is utterly determined to kill this man. FROM UNDER THE DESK Dyson can see a sliver in the backyard. He sees Sarah's feet as she strides toward him. He tenses to make a break for the door. Sarah raises the pistol, eyes riveted ahead, controlling her breathing. Dyson springs up in a full - tilt sprint. She tracks him. He hooks a foot on the cord of a toppled disk drive. BOOM! Her shot blows apart a lamp where his head was. He hits the floor hard, but keeps moving, scrambling forward. Crunch of glass behind his as Sarah's dark form is framed in the blown - out floor - to - ceiling window. Dyson leaps toward the hall. BOOM! Her second shot spins him. He hits the floor in the hallway. Tarissa is screaming. Dyson struggles forward, stunned. There is a.45 - caliber hole clean through his left shoulder. He smears the wall with blood as he staggers up. Looking back, he sees the implacable figure behind him, coming on. He topples through a doorway as - BOOM! BOOM! Shots blowing away the molding where he just was.", "EXT. DYSON HOUSE/STREET Terminator and John leap from the jeep, sprinting toward the house. The shots sound muffles from outside. JOHN Shit, we're too late!", "INT. HOUSE Advancing with Sarah we enter the living area. Tarissa has Blythe and she's screaming at Danny, who has run back to his collapsed father. TARISSA Danny! DANNY! DANNY Daaaaddddeeee! Danny is pulling at Dyson, crying and screaming, as his father tries to stagger forward. Tarissa drops Blythe and runs back for Dyson, grabbing him. Sarah looms behind them with the pistol aimed. SARAH Do n't fucking move! Do n't FUCKING MOVE! -LRB- she swings the gun on Tarissa. -RRB- Get on the floor, bitch! Now! Fucking down! NOW! Sarah is crazy - eyed now, shaking with the intensity of the moment. The kill has gone bad, with screaming kids and the wife involved. things she never figured on. Tarissa drops to the knees, terrified as she looks into the muzzle of the gun. Blythe runs to Dyson and hugs him, wailing. BLYTHE Do n't hurt my father! SARAH -LRB- screaming. -RRB- Shut up, kid! Get out of the way! Dyson looks up, through his pain and incomprehension. Why is this nightmare happening? The black gun muzzle is a foot from his face. DYSON -LRB- gasping. -RRB- Please. let. the kids. go. SARAH Shut up! SHUT UP! Motherfucker! It's all your fault! IT'S YOUR FAULT! We see her psyching herself to pull the trigger. needing now to hate this man she does n't know. It's a lot harder face - to - face. She is bathed in sweat, and it runs into her eyes. Blinking, she wipes it fast with one hand, then gets it back on the gun. The.45 is trembling. TIGHT ON SARAH as we see the forces at war behind her eyes. She looks into the faces of Dyson, Tarissa, Blythe, Danny. Sarah takes a sharp breath and all the muscles in her arms contract as she tenses to fire. But her finger wo n't do it. She lowers the gun very slowly. It drops to her side in one hand. All the breath and energy seems to go out of her. She weakly raises her other hand in a strange gesture, like `` Stay where you are, do n't move''. As if, should they move, the fragile balance might tip back the other way. She backs away from them slowly, panting. It's as if she's backing away in terror from what she almost did. She reaches a wall and slumps against it. Slides down to her knees. The gun falls limply from her fingers. She rests her cheek against the wall. 136A The front door is kicked in. Terminator steps inside. John grabs his sleeve and pushes past him. He scopes out the situation in two seconds. Sarah, the gun, the sobbing family. John moves to Sarah while Terminator checks Dyson. John kneels in front of his mother. She raises her head to look at him. He sees the tears spilling down her cheeks, JOHN Mom? You okay? SARAH I could n't. oh, God. -LRB- she seems to she him for the first time. -RRB- You. came here. to stop me? JOHN Uh huh. She reaches out and takes his shoulder suddenly, surprising him. drawing him to her. She hugs him and a great sob wells up deep inside her, from a spring she had thought long dry. She hugs him fiercely as the sobs wrack her. John clutches her shoulders. It is all he ever wanted. JOHN It's okay. It'll by okay. We'll figure it out. SARAH I love you, John. I always have. JOHN I know, Mom. I know. TARISSA looks around at the bizarre tableau. Terminator has wordlessly ripped open Dyson's shirt and examined the wound. TERMINATOR Clean penetration. No shattered bone. Compression should control the loss of blood. He takes Tarissa's hands and presses them firmly over the entrance and exit wounds. TERMINATOR Do you have bandages? DYSON In the bathroom. Danny, can you get them for us? Danny nods and runs down the hall. John disengages from Sarah. She wipes her tears, the instinct to toughen up taking over again. But the healing moment has had its effect, nevertheless. John walks toward Dyson and Terminator. DYSON Who are you people? John draws the Biker's knife from Terminator's boot. Hands it to him. JOHN Show him. Terminator takes off his jacket to reveal bare arms. John takes Blythe by the hands and leads her down the hall, away from what is about to happen. 136B TIGHT ON TERMINATOR'S left forearm as the knife makes a deep cut just below the elbow. In one smooth motion, Terminator cuts all the way around his arm. With a second cut, he splits the skin of the forearm from elbow to wrist. TERMINATOR grasps the skin and strips is off his forearm like a surgeon rips off a rubber glove. It comes off with a sucking rip, leaving a bloody skeleton. But the skeleton is made of bright metal, and is laced with hydraulic actuators. The fingers are as finely crafted as watch parts. they flex into a fist and extend. Terminator holds it up, palm out, in almost the exact position of the one in the vault at Cyberdyne, HOLD ON DYSON reacting to the servo - hand in front of him. He's seen one of these before. Tarissa is screaming now, but he does n't hear her. DYSON My God. TERMINATOR Now listen to me very carefully.", "INT. HOUSE/KITCHEN - LATER Sarah puts out her fifth cigarette. She's sitting on the counter. John, Terminator, Dyson, and Tarissa are at the kitchen table, under a single overhead light. Dyson looks like that guy on the Sistine Chapel wall, the damned soul. eyes fixed and staring with terrifying knowledge. His shoulder is bandaged. Terminator's arm is wrapped with a blood - soaked bandage below the elbow. The steel forearm and hand gleam in the harsh kitchen light. TRACKING AROUND THE TABLE as Terminator speaks. we do n't hear the words. SARAH -LRB- V.O. -RRB- Dyson listened while the Terminator laid it all down. Skynet. Judgment Day. the history of things to come. It's not every day you find out you're responsible for 3 billion deaths. He took it pretty well, considering. Terminator finishes speaking. DYSON I feel like I'M gon na throw up. He looks around at them, clutching the table like he's about to blow away. His face, his posture, his ragged voice express soul - wrenching terror. This is a man ripped out of normal life into their grim world. His voice is pleading. DYSON You're judging me on thing's I have n't even done yet. Jesus. How were we supposed to know? Sarah speaks from the shadows behind them. Dyson turns to find her looking right at him. SARAH Yeah. Right. How were you supposed to know? Fucking men. all you know how to do is thrust into the world with your. fucking ideas and your weapons. Did you know that every gun in the world is named after a man? Colt, Browning, Smith, Thompson, Kalashnikov. all men. Men built the hydrogen bomb, not women. men like you thought it up. You're so creative. You do n't know what it's like to really create something. to create a life. To feel it growing inside you. All you know how to create is death. you fucking bastards. JOHN Mom, Mom, we need to be more constructive here. I do n't see this as a gender - related issue. -LRB- to the Dysons. -RRB- She's still tense. -LRB- to Sarah. -RRB- We still have to figure out how to stop it all from happening. Right? TARISSA But I thought. are n't we changing things? I mean. right now? Changing the way it goes? DYSON -LRB- seizing on that. -RRB- That's right! There's no way I'm going to finish the new processor now. Forget it. I'm out of it. I'm quitting Cyberdyne tomorrow. I'll sell real estate, I do n't care,,, SARAH -LRB- coldly. -RRB- That's not good enough. Dyson's voice is pitiful. DYSON Look, whatever you want me to do, I'll do. I just want my kids to have a chance to grow up, okay? TERMINATOR No one must follow your work. DYSON -LRB- thoughts racing. -RRB- Alright, yeah. You're right. We have to destroy the stuff at the lab, the files, disk drive. and everything I have here. Everything! I do n't care. FIRE ROARING IN A METAL TRASH BARREL. Stacks of files are dumped onto it. WIDER reveals we are in - 138A EXT, DYSON'S BACKYARD - NIGHT Terminator dumps lighter fluid liberally over the fire, which flares up, lighting his face demonically. Sarah, Dyson, Tarissa, and John return from his office with more stuff - files, notes, optical disks. Even his kids are carrying stuff. It all goes into the fire. Dyson drops the prototype onto the fire. his eyes hollow and distant. He stares into the fire, watching his world burning. The has a sudden thought. DYSON Do you know about the chip? SARAH What chip? DYSON They have it in a vault at Cyberdyne. -LRB- to Terminator. -RRB- It's got ta be from the other one like you. TERMINATOR -LRB- to Sarah. -RRB- The CPU from the first terminator. SARAH Son of a bitch, I knew it! DYSON They told us not to ask where they got it. I thought. Japan. hell, I do n't know. I did n't want to know. SARAH Those lying motherfuckers! DYSON I was scary stuff, radically advanced. It was shattered. did n't work. But it gave us ideas, It took us in new directions. things we would never have thought of. All this work is based on it. TERMINATOR I must be destroyed. SARAH -LRB- to Dyson. -RRB- Can you get us in there, past security? DYSON I think so, yeah. When? Dyson looks at her, Terminator, then John. Sees his answer. DYSON Now? -LRB- he takes a breath. -RRB- Yeah, right. He turns to his wife. Her face is streaked with tears, but her eyes are strong and clear. Tarissa puts her hands on his arm. She is stunned by what she's heard, but dealing with it. She believe them. TARISSA Miles, I'm scared. Okay. But the only thing that scares me more than you going. is you not going. He nods. She's right. SARAH -LRB- to Terminator. -RRB- Is it safe for them here? TERMINATOR -LRB- to Tarissa. -RRB- Take your kids. Go to a hotel. Right now. Do n't pack. -LRB- to the others. -RRB- Let's go. 138B EXT, HIGHWAY - NIGHT Pavement rushing at us, lit by headlights. Beyond, darkness. SARAH -LRB- V.O. -RRB- The future, always so clear to me, has become like a black highway at night. We were in uncharted territory now. making up history as we went along. TILT UP to reveal a rectangle of light ahead. The Cyberdyne Building.", "INT. CYBERDYNE SYSTEMS BUILDING/LOBBY - NIGHT TIGHT ON A CARD - KEY SCANNER as Dyson's hand zips his security card through a slot in one motion. There is the sound of a servo - lock, and - 139A DYSON enter the spacious lobby, followed by Sarah, John, and Terminator last of all. In a frontal angle, the others block Terminator from view. THE GUARD at the front desk, GIBBONS, looks up as Dyson moves toward him. Dyson is pale and sweaty, but smiles warmly at the guard, speaking well before he reaches the desk. DYSON Evening, Paul. These are friends of mine from out of town, I just thought I'd take them up and show them around. GIBBONS I'm sorry, Mr. Dyson. You know the rules about visitors in the lab. I need written authoriz - K - CHAK! Gibbons is staring down the barrels of Sarah's.45 and Terminator's MAC - 10. TERMINATOR I insist. The guard is too stunned to move. We see that Terminator is wearing his jacket and one black glove. Gibbon's eyes go to the silent alarm button on the console. SARAH Do n't even think about it. Gibbons nods. He stays frozen. Terminator circles quickly and gets the guard out of the chair. John pulls a roll of duct - tape from his knapsack and tears off a piece.", "INT. SECOND FLOOR CORRIDOR ELEVATOR DOORS OPEN and Terminator leads the group warily into the corridor. They have a cart piled high with gear in nylon bags. Dyson motions down the corridor to the right. As they walk, he continues to fill them in - DYSON The vault needs two keys to open. Mine. -LRB- holds up key. -RRB-. and one from the security station. It's in a locker but my card should access it. Here we go. They stand in front of a wide security door. A sign above reads SPECIAL PROJECTS DIVISION : AUTHORIZED PERSONNEL ONLY. Dyson zips his key - card through the scanner and the door unlatches. OMITTED", "INT. FIRST FLOOR CORRIDOR/LOBBY A ROVING GUARD, MOSHIER, strolls down the long corridor from the first - floor office block. A punch clock swings at his hip, and he's just completed his circuit of the building. He passes the back of elevators and rounds the corner to the front desk, calling out - MOSHIER Honey, I'm home. He sees the desk is deserted and frowns. Figures Gibbons must be in the can, so checks that first before getting alarmed. TRACKING WITH HIM to the restroom around the corner, MOSHIER Hey, man, you should n't leave the - 142A OVER HIS SHOULDER we see past the door as he pushes it open, revealing Gibbons handcuffed to the urinal. Moshier spins on a dime and sprints to the desk where he slams down on the silent alarm button.", "INT. SECURITY STATION The security station is a pass - through area with a counter, behind which are desks and a bank of monitors, showing boring movies about empty corridors. Dyson crosses quickly to a locker behind the monitor area. He swished his card repeatedly through the scanner on the locker. Nothing happens. The light on the locker is blinking red. Sarah notices Dyson's alarmed expression. DYSON What? WHAT IS IT? Dyson whips around, staring at a light flashing on the console behind him. DYSON Silent alarm's been tripped. It neutralizes the codes throughout the building. Nothing'll open now. We see his nerve snapping. DYSON We should abort. SARAH NO! We're going all the way! You got that, Dyson? She's right in his face. Somehow, it works for him. He nods, getting some resolve from somewhere.", "INT. LOBBY Moshier's gotten Gibbons loose. He's on the phone to the cops. GIBBONS multiple armed subjects. Look, I think it's the guy from that mall shootout, and the woman. yeah, her. Pretty sure. Just send everything you've got in the area -", "INT. SECURITY STATION./LAB John jumps up on the desk next to the wall - mounted locker. Dyson stares in amazement as John starts pulling his counter - electronics gear out of his knapsack. It's just another Ready - Teller to him. JOHN You guys get started on the lab. I can open this. 145A Dyson leads Terminator and Sarah to the main lab doors. Another servo - lock. He tries his card. Nothing. DYSON No good. TERMINATOR Let me try mine. He unslings the M - 79, pulling it over his shoulder in one motion. Sarah grabs Dyson and drags him back down the hall. Terminator opens the breach and slide in one of the fat 40mm H.E. grenades. He flips the thing closed with a snap of the wrist. SARAH -LRB- yelling as she runs. -RRB- John! Fire - in - the - hole! John drops what he is doing, and covers his ears. Terminator fires at inhumanely close range. 145B The door EXPLODES into kindling. The concussion blow his jacket open, and flying shrapnel whizzes all around him. Before the thunderclap has faded Terminator walks into the fire and smoke. John goes back to work without missing a beat. Sarah and a stunned Dyson walk through the burning doorframe into the Artificial Intelligence Lab. A SIREN is sounding. The HALON FIRE - CONTROL SYSTEM has been triggered. The invisible gas roars in, putting out the flames. DYSON Fire's set off the halo system! Here. hurry! Dyson runs to a wall cabinet and pulls out some BREATHING MASKS. He hands one to Sarah and dons the other. Then he reaches out to hand one to Terminator. DYSON Here! Terminator does n't need a mask, since is oxygen requirements are so low. He ignores Dyson as he removes his massive backpack and opens it. Dyson shrugs and tosses the mask on a desk. He turns to Sarah. DYSON -LRB- yelling through the mask. -RRB- We'll have to keep these on a couple minutes, till the gas clears. Terminator pulls two five - gallon jerry - cans of gasoline from his pack. Sarah starts pulling out book - sized, olive - grab CLAYMORE MINES, stacking them next to the gasoline. Dyson stares. Part of him ca n't believe they're really doing this.", "INT. DYSON HOUSE - NIGHT The T - 1000 moves slowly though the ravaged office, analyzing what has happened here. It walks down the dark hallway. The place is deserted. The police - walkie clipped on its belt -LRB- real, not simulated -RRB- blares to life. DISPATCHER -LRB- V.O. -RRB- All units, all units. 211 in progress at 2144 Kramer Street, the Cyberdyne building. Multiple suspects, armed with automatic weapons and explosives. SWAT unit is en route.", "EXT. HOUSE/STREET The T - 1000 sprints up and throws its leg over the big C.H.P. Kawasaki. Fires it up. It smokes an arcing scorch - mark on the pavement as it spins around and roars away.", "INT. CYBERDYNE BUILDING/LAB TIGHT ON A LARGE DISK DRIVE. State - of - the - art. Very expensive. A FIRE AXE smashes down through the housing, shattering the disk. 148A WIDER, revealing a scene of high - tech pillage. Terminator beats the disk drive into junk and steps to another. WHAM. Same routine. He's already demolished half a dozen. Sarah topples a file cabinet, scattering files. Dyson staggers up with an armload of heavy M - O -LRB- magnetic - optical -RRB- disks and drops them on a growing stack in the middle of the floor. He and Sarah have their breathing masks hanging down around their necks, since the halon gas has dissipated. DYSON -LRB- to Sarah, panting. -RRB- Yeah, all that stuff! And all the disks in those offices. Especially my office. everything in my office! -LRB- to Terminator. -RRB- These, too! This is important. -LRB- SMASH! -RRB- And all this here. that's it. 148B Sarah goes into Dyson's office and starts hurling everything out the door onto the central junkpile. books, files, everything on the desk. A FRAMED PHOTO of Dyson's wife and kids lands on top of the heap. Tarissa, hugging Danny and Blythe, all grinning. The glass is shattered. 148C Terminator cuts a swath, under Dyson's direction, exploding equipment into fragments with his inhuman swings. SMASH! It's carnage. Millions in hardware, and all irreplaceable fruits of their years of research. shattered, broken, dumped in a heap for the big bonfire of destiny. Dyson stops a second, panting. DYSON Give me that thing a second. Terminator hands him the axe. Dyson hefts it one - handed. He turns to a lab table. on it is another prototype processor. DYSON I've worked for years on this thing. Swinging awkwardly but with great force he smashes the axe down onto the processor prototype, exploding it into fragments. His shoulder is agony, but he looks satisfied.", "INT. SECOND FLOOR SECURITY STATION John taps away at his little lap - top, which is running code combinations into the card - key lock. Suddenly, the green light on the lock goes on and it unlocks with a clunk. JOHN Easy money. He whips it open, revealing a rack of keys. But the VAULT - KEY is distinctive, a long steel rectangle on a neck - chain. John grabs it and runs toward the lab.", "INT. LAB Sarah and Terminator are working like a crack team, rigging the explosives. She is taping the claymores to the gas cans with duct tape to create powerful incendiary bombs. Terminator is attaching claymores and blocks of C - 4 plastic explosive to the large MAINFRAME COMPUTER cabinets nearby. All the claymores are wired back to one detonator with has a RADIO - CONTROL RELAY switch. DYSON How do you set them off? Terminator shows him a REMOTE DETONATOR, a small transmitter with a red plunger. TERMINATOR Radio remote. He makes a plunger - pushing motion with his thumb and an accompanying `` click'' sound. Dyson nods. Just then John comes running in, holding up the key. JOHN I got it. Piece of cake. SARAH -LRB- to Dyson and Terminator. -RRB- Go! I'll finish here. They run out as the SOUND OF SIRENS grow louder outside. TERMINATOR I'll deal with the police. JOHN Remember what I said, you ca n't. TERMINATOR Trust me.", "EXT. CYBERDYNE BUILDING The security duo of Moshier and Gibbons cowers behind cars in the parking lot in front of the building. They turns as L.A.P.D. BLACK - AND - WHITES pour into the lot, turn the area into a disco of whirling blue and red lights. OMITTED", "EXT. CYBERDYNE BUILDING The cops are jumping from their cars and ducking behind them. Emphasis on small arms here. Behind them an ugly BLACK SWAT VAN screeches into the lot. 153A We hear the THUMP OF ROTORS as a POLICE CHOPPER arrives and swings in close to the building. It rakes its XENON SPOTLIGHT through the second floor offices.", "INT./EXT. SECOND FLOOR OFFICE Terminator crosses the office toward the floor - to - ceiling windows. He is outlines starkly by the spotlight as it rakes through the dark offices. Without breaking stride he kicks an executive desk toward the window. 154A Glass explodes outward and the desk topples, falling to the sidewalk below. 154B Terminator, standing at the edge, FIRES A LONG BURST with strafes the police cars lines up below. Cops duck as glass flies. Terminator, with his superb aim, hits no one. But noticed is served. 154C The cops -LRB- surprise -RRB- FIRE BACK. Terminator turns and is walking calmly from the window as glass, office furniture, drapes etc. are riddled by return fire. A few rounds hit his back, but he does n't notice. He reloads as he walks.", "INT. VAULT ANTECHAMBER TIGHT ON A KEY inserted into one of the vault locks. WIDER as John and Dyson stand poised, hands on keys. JOHN And let's see what's behind door number one. Dyson nods and they turns the keys together. The vault grumbles to itself, withdrawing it locking bolts with a final KLONK! Together Dyson and John swing the door open.", "EXT./INT. LOBBY The varsity takes the field as the SWAT TROOPERS sprint forward by squads. They flank the lobby and work their way inside, deploying rapidly. They move and freeze, behind cover, quivering with adrenaline. They have all that great SWAT equipment : body armor, gas - masks, M - 16s, tear - gas launchers, ropes. The works. They make a lot of hand signals and keep their mouths shut. They're well - trained and deadly. OUTSIDE we see cops firing TEAR GAS grenades through the broken windows into second - floor offices.", "INT. VAULT John and Dyson are isolated from the world in this silent steel womb. Dyson opens the cabinet containing the terminator relics. It's John turn to stare with uneasy deja - vu as he sees the terminator hand and CPU. Then in one vicious move he sweeps his arm behind the inert - gas flasks and hurls them to the floor. They SHATTER. John snatches the CPU and the metal hand out of the broken glass. JOHN Got ol' Skynet by the ball now, Miles. Come on, let's book! Clutching the steel hand and pocketing the chip like it's a Mars bar he just bought, John runs out. Dyson follows.", "INT. FIRST FLOOR CORRIDOR/STAIRWELL We see the advance squad of SWATs make it to one of the stairwells. They start up, two at a time, covering each other ritualistically by the numbers.", "INT. LAB/HALL John pelts into the lab with Dyson stumbling along behind him. Sarah is just finished wiring all the charges to the central detonator. JOHN Ready to rock? SARAH Ready. John tosses her the metal hand. She catches it and bends to put the hand in her empty back - pack. Sarah zips the pack and starts to shuck into it. Dyson's running out of steam. The bandages at his shoulder are soaked with seeping blood. He stands in the middle of the lab, saying goodbye in his mind, looking weak and empty. Terminator strides into the lab. TERMINATOR Time to go. Right now. He and John head back the way they came, through security. Sarah sees that in her work, she has set the detonator down twenty feet away, near where Dyson is standing. SARAH Dyson, hand me the detonator. Let's go - He gingerly picks up the detonator. Starts toward her. Then - 160A CRASH! THE DOORS AT THE BACK END OF THE LAB ARE KICKED OPEN. SWAT LEADER and two others OPEN FIRE. Their M - 16s rake the room. Sarah dives behind a computer cabinet. Dyson is HIT. He is slammed to the floor by the impacts. IN THE HALL, John hears the firing and spins to run back. JOHN Mommm! Terminator grabs him as bullets slam into his broad back. He makes it around the corner with John, out of the line of fire. IN THE LAB, bullets rake over Sarah's head, smacking all around her, clanging into the machine protecting her. She can see Dyson, slumped on the floor. Debris and flying glass rain on her as the SWATs pour on the fire. The detonator is clutched in his hand. He rolls to face her, his eyes bulging from the pain of his torn - up guts. DYSON Go. 162A Sarah hesitates a split second. Then she snap - rolls and fast - crawls through broken glass and debris into the hall where - TERMINATOR grabs her by the jacket and hauls her roughly to her feet. Bullets rake the walls behind them as they sprint forward. They round the corner. John does a fast take that she's not hit and they run together through the security checkpoint.", "INT. SECURITY STATION/CORRIDOR John reaches the first door, and tries it. Locked. Terminator unslings the M - 79 blooper smoothly, opening the breach. TERMINATOR Get back. He pulls a grenade from the bandolier over his shoulder, and slides it into the bore. Flick his wrist. The breech snaps shut. Sarah and John have a split second to duck and cover. TERMINATOR Cover you ears and open you mouth. 163A They do. KABOOM! Twenty feet away the door, and half the wall around it, EXPLODES outward. The backblast hits Terminator full force, but he strides through the smoking hole before the debris has even hit the floor. OMITTED", "INT. LAB SWAT LEADER moves cautiously through the lab. Cat - stepping, he circles around a desk which block Dyson's body from his view. His M - 16 is leveled crisply. We look over his shoulder as he rounds the desk, revealing - MILES DYSON is not dead. He will be very soon, but at this moment he is conscious. He has propped himself up against the desk, and holds a BOOK in one hand. A heavy technical manual. Below the book is the detonator, upright on the tile floor. The message is clear. `` Shoot me, the book drops on the plunger. Adios.'' Dyson wheezes, trying to draw enough breath to talk. DYSON I do n't know. how much longer. I can. hold this thing. SWAT Leader seems to see the wires, the claymores, the gas cans all around him for the first time. His eyes, visible through his gas - mask, go very wide. He spins and motions his squad back. LEADER Fall back! Everybody out! Move it! OUT NOW! They retreat so fast they crash into the next group coming up the stairs.", "INT. CORRIDOR Terminator reaches the main elevators. Hits the button. Sarah and John are coughing and stumbling in the choking darkness, buddy - breathing with the single mask. The doors open. They get in the elevator and head down.", "INT. LAB Dyson is lying amid the ruins of his dreams. Sprawled on the floor, he has his back propped up against the desk. He is bathed in his own blood, which runs out in long fingers across the tiles. His breathing is shallow and raspy. He still holds the book, trembling, above the switch. In his lap is the picture from his desk. He has pulled it from the debris next to him. A tear trickles from his eye. His wife and children smile up at him through broken glass. OMITTED CUT TO THE PUPIL OF HIS EYE, at the moment of death, the instant the light fade from his eyes and he is gone - His arm drops and the book his the switch -", "EXT. BUILDING As the face of the building EXPLODES in an eruption of glass and fire. Remains of the second - floor windows shower the parking lot and a huge fireball rolls out, leaping into the sky. The cops look up, stunned. The helicopter banks away from the heat. Burning debris falls among the cop cars and a number of officers break ranks, pulling back. ONLY ONE OF THEM seems to be moving with purpose. A BIKE COP who has just arrived drives through the disorganized crowd, directly toward the building. 171A T - 1000 guns the bike up a ramp to a pedestrian bridge which crosses from a parking structure to the Cyberdyne building. It enters on the second floor, which is now a burning maze.", "INT. SECOND FLOOR/OFFICE/CORRIDOR T - 1000 drives into the smoky wreckage. It draws a Hoechler and Koch MPK machine pistol and cruises slowly into the firelit offices, scanning. 172A IN THE CORRIDOR the bike skirts flaming wreckage as it idles forward. T - 1000 scans the leaping shadows for its prey.", "INT. GROUND FLOOR/ELEVATOR/LOBBY The elevator doors part and Terminator eases a look out into the corridor. The walls on either side of him ERUPT WITH BULLET HITS. The SWATs have the lobby end of the corridor blocked off. They're totally trapped, cut off and screwed. JOHN -LRB- to Sarah. -RRB- Do n't forget. It's always darkness right before. you're totally fucked. 173A The SWATs fire a tear - gas grenade toward the elevators. It spews the vicious CS gas out in a swirling cloud which envelops Sarah and John, who are pressed against the back wall of the elevator. TERMINATOR Keep your eyes closed. Do n't move. -LRB- they nod, eyes squeezed shut. -RRB- I'll be back. He slings the grenade launcher over his shoulder and walks out into the corridor. 173B BLAM. A tear - gas grenade ricochets from wall to wall as it flies down the corridor. It skids to rest in front of Terminator, throwing out a white cloud which quickly fills the corridor. 173C In the elevator, Sarah and John are choking, handing the breathing mask back and forth desperately. They're scarred. This looks like it. 173D ANGLE ON THE SWAT TEAM, gripping their weapons at the mouth of the corridor. They watch the boiling cloud, waiting. 173E THEIR POV - on the wall of boiling smoke. A FIGURE APPEARS. Walking Totally unaffected. Terminator emerges from the smoke. Not even misty - eyed. Not what they expected. LEADER -LRB- through megaphone. -RRB- Stop where you are. Lie down on the floor, face down. Down on floor, now! He continues to stride toward them. The SWATs tense up. They've never seen anything like this. They're not sure what to do. Closer and closer. LEADER Drop him. They OPEN FIRE. The corridor is filled with CRACKING THUNDER. The rounds tear into Terminator's chest. Stomach. Face. Thighs. His leather jacket leaps and jerks as the rounds hit him. The SWATs think the guy's wearing body armor or something. They keep firing. The rounds tear into him, staggering him slightly, but he keeps moving. LEADER You're not hitting him! SWAT #1 -LRB- getting scared. -RRB- Yes I am! Terminator draws his.45 smoothly. Unhurried. He shoots the nearest man in the left thigh. As he screams and drops, Terminator shoots him in the right thigh. Terminator bends down and picks up the shrieking man's weapon. the TEAR - GAS LAUNCHER. It is one of those new rotary jobs that hold 12 rounds in a big drum. Terminator shoots the next SWAT in the chest with the tear - gas launcher. The gas canister hits the guy's body armor and does n't penetrate. But it's like getting slugged in the stomach with a full - swing from a baseball bat. The SWAT fold double and hits the tiles, gasping. Terminator is an image from Hell, a tall figure in shredded black leather, streaked with blood. One eye is a bloody socket, the metal eye - servo glistening. The flesh of one cheek hangs down in tatters, revealing the chrome cheekbone beneath. The whole front of his jacket is blown open, revealing his metal armor chest. The remaining SWATs start to fall back. One turns to run and - KPOW! A gas canister nail him in the back, sending him sprawling. 173F Terminator fires three gas canisters into the lobby. It fills rapidly with the white gas, cutting the visibility to a few feet. It is total pandemonium. SWAT LEADER crouches in the fog, white - knuckling the rifle. Terminator looms suddenly out of the mist right in front of him. POOM! Terminator drills him in the leg with the.45. As the guy screams and drops rifle to clutch his leg, Terminator rips his gas mask off. The SWAT leader drops writhing to the floor, choking and gagging, clutching his bleeding thigh. Terminator walks up to two SWATs at the front doors. POW - POW. Leg and leg. He snatches their masks as they fall. The gunfire has stopped. Nobody an see anything. Screams and whimpers echo in the smoke.", "EXT. BUILDING Smoke boils out of the front door as a figure emerges. Firing the tear - gas launcher with one hand, Terminator launches all remaining rounds among the cop vehicles. Unprotected officers run, choking and half - blind, slamming into cars and tripping over each other. It is a total rout. AT THE SWAT VAN on of the SWATs is rapidly handing out the remaining masks to unprotected cops. A FIGURE appears out of the smoke beside him. He looks up. His mask is ripped off and he is handed the empty launcher. Instinctively he catches it. Terminator grabs his flak vest with one hand and sails him out into the mist. 175A INT. SWAT VAN Terminator strides the length of the van and climbs into the driver's seat. No keys in the ignition. He flips down the sun visor. The keys fall into his hand. He starts the van and slams it into gear.", "INT./EXT. LOBBY The tear gas has cleared to a thin haze. The uninjured SWATs are tending their wounded. They look up at the sound of shouts and a roaring engine. 176A THE SWAT VAN CRASHES INTO THE LOBBY in an explosion of glass and debris. Cops scatter as the van screeches across the lobby in a smoking one - eighty, sliding to a stop across the corridor which leads to the bank of elevators. Terminator backs up until - crunch - he seals the corridor with the back of the van. 176B Sarah and John stumble along the corridor, coughing. They leap into the back of the van and Terminator hits the throttle. The van roars across the lobby and exits through blown - out windows.", "INT./EXT SECOND FLOOR T - 1000, astride the Kawasaki, looks down from a second - floor office and sees the van tearing across the parking lot with the remaining cops firing at it. It knows. It looks around. Analyzing options. It sees the helicopter hovering outside the building at the end of this corner office block. It twists full throttle on the powerful bike. Roars through the office, accelerating fast, straight at the windows - T - 1000 BLASTS OUT THROUGH THE GLASS, airborne on the motorcycle. It rockets across the gap to the hovering chopper and - 178A SLAMS into the canopy. The impact of bike and rider pitches the chopper radically. The startled PILOT fights to regain control as the bike tumbles to the pavement below. 178B The T - 1000 does n't. It clings to the shattered canopy. Nightmarishly, the pilot watches as the T - 1000 smashes its head through the plexiglass canopy and rapidly POURS ITSELF through the jagged hole. It reforms instantly into its previous self on the passenger seat. 178C It hurls the pilot out of the chopper and slides into the driver's seat. The chopper is auto - rotating, spinning out of control. It drops toward the parking lot. T - 1000 recovers control ten feet above the ground. 178D Cops hits the deck as the tail - boom swings around, going over them by inches. The chopper lifts out in a power climb, roaring away across the parking lot toward the fleeing SWAT van. OKAY, BUCKLE YOUR SEATBELTS, HERE IT COMES.", "INT./EXT. SWAT VAN/HIGHWAY - NIGHT Terminator looks back at his two passengers as he turns the boxy van onto a divided highway. Sarah and John are catching their breath, still coughing from the CS gas. Terminator look to the rear - view mirror. He sees the xenon searchlight of the chopper behind them, gaining. Sarah looks around the inside of the SWAT van. It is a rolling armory. There are rifles, ballistic vests, all manner of equipment. SARAH John, get under these. Hurry! He sits against the front bulkhead of the van and she pile bullet - proof vests on top of him, completely covering him. Then she grabs two M - 16s from the wall - rack and loads them. She starts on a shotgun as - The SWAT van weaves through sparse traffic at high speed. Terminator slews the unstable van around cars and trucks which seem to be crawling. The van hits it top speed of eighty. They swerve to miss the back end of A WHITE 18 - WHEEL TANKER. 180A The chopper swings in behind them, closing fast. 180B T - 1000 reaches through the shattered canopy with the MPK machine pistol and FIRES. The back of the can CLANGS WITH HITS. The door windows are BLOWN IN. Terminator weaves the van, trying to throw off the T - 1000's aim. The unstable vehicle screeches and wobbles on the edge of control. One of the doors is kicked open. Sarah, wearing a ballistic vest, crouches in the doorway, whipping up the M - 16. SHE OPENS FIRE. 180C Bullets riddle what's left of the chopper's canopy as the T - 1000 returns fire. The van is stitched with hits. 180D INSIDE THE VAN holes are punched through the thin sheet - metal walls, ripping up the interior. The vests covering John are hit repeatedly. We see that Sarah has hung two Kevlar vests on the inside of the back door and she ducks behind these as bullets hit around her. She pops back out and fires in controlled bursts. The M - 16 empties and she grabs another. 180E Terminator serves around a car which is changing lanes, hitting it and knocking it skidding. OMITTED 181A Sarah reloads and keeps firing. The van swerves around a Toyota. A moment later the helicopter passes it, the rotor just clearing the top of the car. 181B T - 1000 FIRES the machine pistol. 181C Sarah has popped out to fire. She takes a HIT in the thigh, and several rounds hammer into her Kevlar vest. She is thrown back onto the floor of the van. She lies there, an exposed target. 181D Terminator sees the T - 1000 preparing to fire again. He locks up the van's brakes. Tires scream as the vehicle shimmies. Sarah is thrown forward, sliding up to the bulkhead next to John. And the helicopter SLAMS RIGHT INTO THE BACK OF THE VAN. The rotor disintegrates. The back doors of the van are crushed in as the canopy, the whole front of the fuselage is HAMMERED INTO JUNK, trapping the T - 1000 inside the twisted metal. The chopper hits the pavement, flips, sideways, and cartwheels. smashing itself into a shapeless mass of twisted metal. It falls away behind the van, tumbling end over end. 182A Terminator fights to control the van, which is fishtailing violently from the impact. It smashes up against the center divider, screeching along the concrete, and then pulls away. Terminator puts the hammer down and the van accelerates. He swerves to avoid an UGLY PICKUP crawling like a snail ahead. THE RIGHT FRONT FENDER of the van, crumpled by slamming the wall, is sawing into the tire. The tire blows and peels off the clean rim. The steel wheel grinds across the pavement, striking trails of sparks, and the van slides sideways and topples - STEEL SCREAMS on pavement as the van grinds to a stop on its side. 182B INSIDE THE VAN, John crawls to Sarah, who is groaning and holding her bleeding leg. She is white and shocky. Terminator starts to extricate himself from the crumpled driver's seat. BACK DOWN THE ROAD, THE HELICOPTER wreckage is a crumpled ball of junk metal, unrecognizable. Behind it, the TANKER TRUCK brakes hard, shuddering and groaning, trying to stop. The big tires lock up in clouds of tire - smoke. The rig comes to a shuddering stop just short of the wrecked chopper. 183A The shaken DRIVER jumps down. The behind the wreckage a cop emerges, walking toward him. DRIVER Goddamn, are you alri - 183B SSSHHCK! T - 1000 drives a blade through the man's abdomen and walks on past without slowing, or even looking at him. 183C It climbs into the open cab of the tanker. Releases the brake. As the truck bellows are rolls forward we see the large blue letters on the side which say `` CRYOCO INC.. LIQUID NITROGEN SUPPLY'. AT THE SWAT VAN John and Terminator are carrying Sarah out of the wreck. Terminator has the M - 79 slung over his shoulder, the bandolier of grenades, and his.45 stuck in his waistband. John has borrowed a 12 - GAUGE RIOT GUN from the SWATs. 184A The pickup they passes seconds earlier pulls up to them. The DRIVER, A Hispanic guy in his 50's, is getting out to help them. Terminator and John hear a CRASH and look back as the helicopter wreckage is knocked aside by the accelerating tanker truck. JOHN Holy shit. Come on, Mom. we got ta keep moving. come on - TERMINATOR -LRB- to the pickup owner. -RRB- We need your truck. The guy seems to know better than to try and stop him as Terminator slides Sarah into the front seat and climbs in behind the wheel. John runs to the passenger side. THE TANKER ROARS, spewing smoke from its chrome stacks as it shifts up through the gears. Terminator slams the pickup in gear, checking the rear - view. The tanker is a hundred feet behind them now, and really moving. Terminator puts the throttle down, but the pickup is and old slug loaded down by a heavy home - made wooden camper - shell. It accelerates slowly. THE TANKER slams into one end of the SWAT van, spinning it out of the way with a roar and screech of twisting metal. The 18 - wheeler shifts to a higher gear, still accelerating.", "INT./EXT. PICKUP TRUCK With the tanker right behind them, Terminator cuts the wheel, swerving the pickup back and forth across the lanes. The big rig stays right on them, it tanker whiplashing violently. JOHN Faster! He's right on us! Terminator does n't reply. He rapidly unslings the blooper, still around his neck, and reaches for a grenade. LOW ANGLE ON THE TRACTOR - TRAILER as it roars right up to the lens, filling frame with chrome and lights. 191A K - WHAM! It rams the backs of the pickup, sending it skidding. 191B Then the T - 1000 pulls the tractor trailer up alongside the pickup and crabs over, sandwiching it against the center divider. The spinning chrome hubs tear into the passenger side door and the guard rail screeches along the other side. The pickup bucks and shakes insanely. It ricochets violently between the big - rig and the divider Horrible SCREECH of tortured steel. Sparks pour in sheets of fire from both sides. The windshield shatters as the door - posts buckle in. Metal and glass shower in through the side windows. The frame twists and buckles. John feels like the fillings are being shaken right out of his teeth. The wooden camper disintegrates, falling away as kindling behind them. 191C INT. TANKER CAB T - 1000 holds the wheel hard over, mercilessly grinding the pickup. The whole rig jerks and shakes with the violence of the sustained hammering. 191D INT. / EXT.. PICKUP Terminator slides toward the passenger side. Keeping his foot on the gas he lifts John over him and puts him in the driver's seat. TERMINATOR Drive for a minute. JOHN Where you going?! Terminator slams the shattered windshield with the palm of his hand. Held together by the plastic laminate, the windshield flops out of its frame. It flies over the top of the truck. 191E Terminator pushes his upper body out over the dashboard and stands up. He turns and aims the M - 79 one - handed. 191F POOM! The grenade misses the T - 1000 by less than a foot. It EXPLODES against the front bulkhead of the tanker, almost at the top. Liquid nitrogen pours from the opening, swept back by the 60 - mph windstream. 191G The big - rig swerves as T - 1000 regains control. The tanker swings like a pendulum behind the cab. 191H The pickup accelerates, getting back out in front by a few yards. Behind it the big - rig is trailing a swirling comet - tail of nitrogen vapor. It is gaining again. Terminator, still standing, opens the breech and starts to reload. 191I John cuts across the highway and takes an OFF RAMP. 191J T - 1000 swerves the smoking behemoth across the lanes and down the ramp after him, still accelerating. It is twenty feet behind them and closing when Terminator closes the breech and FIRES. 191K The grenade hits the front grill and EXPLODES. The radiator is destroyed, along with half the hood. Steam blasts out, obscuring the whole front of the truck. 191L The semi rams the back of the pickup again. Spewing smoke and vapor like some demon locomotive, the tractor - trailer pounds into the back of the pickup. Driving it right through the intersection at the bottom of the ramp, and straight toward -", "EXT. STEEL MILL The chase has led them to an area of heavy industry. THE GATES are blasted off their hinges as the semi rams the pickup right through them. Terminator struggles to reload amid the chaos and impacts. He has THREE GRENADES LEFT on the bandolier. John is n't even steering. They are just being pushed. There's nothing he can do. They are rocketing down the broad thoroughfare which leads directly to the MAIN BUILDING of the plant. 192A Terminator pulls himself onto the roof of the pickup. He leaps to the bed, takes two powerful strides and - Leaps onto the semi. He climbs rapidly onto the hood. 192B And FIRES POINT BLANK THROUGH THE WINDSHIELD. Right into T - 1000's face. The EXPLOSION blows out all the glass and fills the cab with smoke and fire Terminator grabs onto the air - horn as the truck starts to SHUDDER AND 192C SCREAM. IT IS JACK - KNIFING. Almost dream - slow the cab begins to swing sideways, until its tires are shrieking over the pavement. The tractor is smashed back at right - angles to the tanker - trailer which begins to slide broadside. 192D The juggernaut bucks and shudders as the tires and smoke sideways across the pavement. It begins to topple. Terminator hold on as the side of cab becomes the top. With an unholy scream, like the unoiled hubs of Hell, the whole rig slides on its side at 60 mph toward the steel mill. A sheet of sparks sixty feet wide trails behind it on the pavement. 192E John sees what's behind him, then snaps around to see the building looming right in front. The huge rolling doors are partly open. No choice. He steers right through them into the mill, as - 192F Terminator, with one second to go, leaps from the cab - He flies through the open doors as - The tanker hits the building and -", "INT. STEEL MILL/MAIN AISLE Terminator slams to the floor of the mill and rolls, as - The tanker - trailer smashed into a massive concrete support at one side of the doors. Thunderous carnage of twisting metal. o 193A It splits wide open. A river of liquid nitrogen pours out at - 230. 193B John hits the brakes, sliding out of control. He slows almost to a stop but hits a steel support column head - on. He and Sarah are slammed forward, hard. 193C Terminator, still clutching the M - 79 blooper, rolls and slides across the floor. He smashes through a railing and slams up against the base of a massive machine. 193D The semi cab swings about the trailer wreckage, into the building, and shudders to a stop. Liquid nitrogen sprays over the cab, flooding out around it in a HISSING WAVEFRONT OF ULTRACOLD. Freezing vapor swirls everywhere, obscuring the wreck. 193E TERMINATOR lies still. A beat. Then he rolls weakly, rising on one elbow to survey the scene. 193F IN THE WRECKED PICKUP, John stirs. He is stunned, and blood runs from his nose. Dazed, he realizes he is in a steel mill. There are sirens, and he can see men running. shouting. He turns and sees what they are running from. 193G The wall of nitrogen vapor spreads from the demolished tanker. It is a strange vista of fire and ice. The huge SMELTERS pour out orange light and fire from the sides of the huge galley, while the freezing vapor rolls down the center. 193H TIGHT ON THE WRECK. A billowing gray cloud. Deep inside, the shape of the cab in visible. A FIGURE emerges, pulling itself out. It drops to the floor. The hissing, boiling river of liquid nitrogen flows around its feet. The T - 1000 staggers, moving slowly, painfully. It has finally been affected by something. Its feet are freezing to the ground as it walks. 194A CLINK! One of its feet breaks off at a glassy angle. It stumbles forward, and - 194B Its other foot snaps off. As it catches its balance on the stump of its other ankle, 194C the whole lower leg shatters at the impact. It topples forward to its knees. Catches itself on one hand. Liquid nitrogen flows around the hand. Now the hand is stuck to the pavement. 194D The T - 1000 pulls and. CLINK! The hand snaps off at the wrist. It looks stupidly at the glassy stump of a wrist. For the first time we see an expression on its face we know to be a true one. The expression is pain. Agony. Its mouth opens in a soundless scream as the hoar - frost races up its legs, across its body. 194E And that's the position it freezes in. It has become a statue, kneeling in the frozen vapor, that surprised look of agony frozen on its face. The liquid nitrogen stops flowing and begins to evaporate. 194F Terminator, just beyond the boundary of the cold, can see the T - 1000 clearly. He draws his.45 and aims. TERMINATOR Hasta la vista, baby. 194G K - POW! The single shot blows the T - 1000 into a million diamonds spraying up into the air. They shimmer across the ground for twenty feet in all directions. Terminator lowers the gun, satisfied. He looks like he needs a vacation. JOHN AND SARAH have seen it from the pickup. She is in bad shape. Conscious but very weak. He tries the door. It's jammed. He kicks it open. JOHN Okay, Mom, we got ta get out now, come on. That's it. He helps her slide down from the seat of the truck. Her knees give way. John has to take a lot of her weight. He reaches in and picks up the riot gun off the seat. They hobble toward - 195A TERMINATOR. On his knees, he looks into the dissipating cloud of vapor. The heat of the furnaces has evaporated all the liquid nitrogen. INSERT, TIGHT ON THE FLOOR - the T - 1000 shards are melting, liquefying. Hundreds of drops of mercury, spattered across the floor. Orange light of the enormous black - furnaces dances on liquid metal. TERMINATOR struggles to rise. One arm is shattered, the hand smashed and useless. And some leg - servos are damaged. He can barely stand. John and Sarah arrive. TERMINATOR We do n't have much time. JOHN What? Terminator points. John and Sarah watch as - INSERT, T - 1000 DROPLETS are creeping together. Fusing into larger blobs. These pools shiver and run together, soon forming a central mass. ON JOHN AND SARAH, realizing it's not over. JOHN Come on! Let's go! Terminator gets one of Sarah's arms over his shoulder and they go. BEHIND THEM, something is moving. A HEAD is forming up out of a pool mercury. it rises, as shoulders form. hunching up from the liquid mass. Half - formed, it turns to look straight at them. John looks back in new terror as - The T - 1000 rises to man - height. It is still in mercury form, but its features are forming rapidly. It takes its first step after them. Sarah stumbles and they pull her up. Terminator himself has a pronounces limp, dragging one leg with a shattered ankle joint. John's the one pulling, straining, driving them forward. They round a corner into -", "INT. AISLE BETWEEN FURNACES It is a maze of monstrous machinery. The heat is tremendous. The air shivers with a pounding roar. Sarah cries out in pain and stumbles again. JOHN Come on, Mom, you can do it! Come on! They drag her up, and stagger on. Her leg is bathed in blood and she is deathly pale. He looks back. INT, MAIN GALLERY The T - 1000 steps INTO FRAME. Fully formed. The hell - fire light glints on its impassive cop face. It walks forward. At first it seems unaffected by its crystallization but - 203A ANGLE ON ITS HAND as it touches a railing in passing. The railing is covered with O.S.H.A. yellow - and - black safety tape. The hand turns yellow and black, the color fading to normal by about the elbow. It rips the hand from the railing with difficulty. There is a sound like adhesive tape ripping off a surface. 203B The T - 1000 looks at its yellow - and - black striped hand. It wills the hand back to normal. We see ripples of `` static'' or system noise moving subtly over the surface of its body. It's starting to `` glitch''. 203C TRACKING WITH THE T - 1000'S FEET. With each step, the pattern on the tile floor `` invades'' its lower legs. Fades as the foot is lifted. Returns as it is set down. The foot is trying to meld with the floor. The chameleonic function is out of control. The T - 1000 is losing it. It moves forward, searching. It rounds the corner, entering the aisle between the furnaces.", "INT. AISLE Terminator sees the SILHOUETTE closing on them through the smoky gleam. The T - 1000 breaks into loping run when it sees them, Terminator turns to Sarah over John. TERMINATOR Keep going. John shakes his head no. The T - 1000 is almost on them. TERMINATOR RUN! John runs, dragging, half - carrying Sarah as best he can. She can barely stay conscious. Half - running, delirious, she stumbles and drops to her knees. John pulls but she ca n't rise. JOHN -LRB- crying, shouting. -RRB- Come on, you got ta try. please, Mom. Get up! John looks back to see - 204A TERMINATOR trying to load the M - 79. With his shattered hand, he can barely maneuver is last grenade into the breech. T - 1000 smacks the weapon out of his hands. It clatters to the floor. The grenade spins across the floor, rolling under some machinery. Terminator lunges, slamming the T - 1000 against a wall with all his weight. The battle is joined. 204B JOHN AND SARAH have reached the back of the aisle. It is a cul - de - sac, blocked on the end by the base of an IMMENSE SMELTER CRUCIBLE. They turn to watch the titans battle in silhouette, backlit by the molten sparks falling from the furnaces above. The battle which will decide their fate. 204C Terminator grabs the T - 1000 and hurls it with awesome force against the opposite wall of the narrow alley. In less time than it would take to turn, the 204D T - 1000 morphs trough itself, front to back. face emerging from the back of its head. 204E It comes off the wall straight at Terminator, who smashes his good fist into its face. The pile - driver blow buries Terminator's fist almost to the elbow. 204F But the T - 1000's head morphs in a split - second into a hand which grips Terminator's wrist, and the head `` emerges'' somewhere else, the geometry shifting faster than we can follow. 204G The T - 1000 slams Terminator into a large machine, jamming his arm into the moving works. A massive sliding bar SCISSORS HIS ARM, smashing it into junk at the elbow, pinning him in the machine. Terminator strains against the machine pinning him. We hear his servos whining with overload. The T - 1000 turns and lopes toward Sarah and John. Sarah screams and hurls John into a gap between the machines. He falls into a maze of pipes and girders.", "INT. MAZE OF MACHINES JOHN turns to see her in the entrance of the narrow gap. She could follow him but she does n't. SUDDENLY a dark mass moves toward him. John gasps as a huge steel counterweight, driven by a chain 6 inches thick, slides toward him. He rolls out of the way. When he looks back, he can not see the opening. JOHN Mom! MOMMM!", "INT. AISLE BETWEEN FURNACES TERMINATOR strains to reach a 6 - foot steel bar lying near him. Steel workers use them to move the red - hot ingots around. He gets hold of the end and uses it as a lever. With titanic effort he spreads the massive components which are holding him, and withdraws him arm, which is severed at the elbow. Dangling junk hands from the crushed joint. SARAH has lost sight of John. It is much of a goodbye as they will have. She turns as the T - 1000 closes on her. She is half - slumped against the sooty machines, looking barely conscious. She struggles to load a shell into the empty weapon. At the last instant she whips up the RIOT GUN and FIRES. A207 T - 1000's face is blown open, but quickly reforms as it closes on her. She fumbles to get another shell into the magazine but - A208 THUNK! A steel needle slams through her shoulder, pinning her. The polymorphic killer cocks back its other hand. The index finger extends as a gleaming needle, toward her eye - T-1000 Call to John. Now. 207C WHAM! SOMETHING whistles down on the T - 1000 with such force that is cleaves it head and body in two down to the naval. The 6 - foot steel bar is imbedded in its body. Terminator hurls the killer off Sarah. 207D The T - 1000 pulls the steel shaft out of itself and attacks him with fury. Swinging again and again. Hammering Terminator back. Terminator falls back against the wall. Behind the T - 1000 is an enormous I - beam, hanging from two chains. It is used to lift ingots into the smelters, and it runs on a linear track. 207E The T - 1000 grabs the I - beam and rolls it down the track. Straight at Terminator. The two - ton girder smashes into his chest, crushing the armor. The T - 1000 pulls the I - beam back, and then heaves it forward again. Terminator turns and takes the second blow on the shoulder. We hear metal crush and break inside him. He sags, turning to grip the wall. The third blow slams into his back, smashing his spine and pelvis. We hear servos ratcheting and failing. He drops to his knees, crucified on a wall of machinery. The fourth blow is centered between his shoulder blades. Sound of crushing metal. His skull is partially caved in. He slides to the floor. 207F ON THE T - 1000, emotionless as it walks forward. 207G TERMINATOR is a pathetic shape on the floor. He is trying to crawl, feebly. Dragging his malfunctioning legs behind the crushed spine. His arm stump screeches on the tile floor as he inches himself forward. His exposed machine eye burns red with determination. We see his prize. He has the M - 79, with the breech still open, cradled in the crook of his ruined arm. He good hand, the exposed steel one, is reaching for the last grenade, which is visible under the skirt of the massive smelter base. His metal fingers reach out for it as - 207H The T - 1000 raises the heavy steel bar over his head and stabs it down with unbelievable force. It punches into Terminator's back, through a gap in the shattered armor. The T - 1000 levers it back and forth, widening the hole. Then is raises the pointed bar again and slams it down. It punches right through. Emerging from Terminator's chest. And into the floor. He is pinioned. The cyborg sags face down and stop moving. The light goes out of his eye.", "INT. MAZE OF MACHINERY John scuttles like a rat through the gut of the smelter. Above him, vast machines churn untended. He hears a voice. SARAH'S Calling low and urgent to him. SARAH John? John? Can you hear me? Where are you? 208A He crawls out of the shadows. Onto a landing next to one of the SMELTER CRUCIBLES. Molten steel glows bright orange in the crucible of the furnace. Heat shimmers the air, giving everything a hallucinatory quality. John sees Sarah nearby, limping toward him. She can barely move, her leg bathed in blood. He runs toward her. SARAH -LRB- gasping. -RRB- Help me, honey. TIGHT ON SARAH, her stoic face, as she hobbles forward, reaching out to him. Something rises behind her, OUT OF FOCUS. ANOTHER, IDENTICAL, SARAH. but this one has a shotgun. Aimed right at us. 209A JOHN freezes. Which is which? He looks down. The first Sarah's feet are melded with the floor, sucking and fusing with the tiles as she walks. They have the color and pattern of the tiles up to the knee. SARAH John, get out of the way! JOHN -LRB- screaming. -RRB- SHOOT! 209B John dives aside. The Sarah - form spins, changing into you - know - who. Sarah starts unloading the shotgun into it. BOOM! It staggers back. K - CHAK. She chambers another round. BOOM! It staggers again. K - CHAK. BOOM! And again. And again. 209C The T - 1000 is blown back a step and Sarah advances with each shot. The craters in the T - 1000's body `` heal'' slowly. Its power is waning. She FIRES again. And again. Her eyes blazing with feral intensity. She walks it back, right to the edge of the pit of MOLTEN STEEL. K - CHAK. CLICK. She's empty. The T - 1000 is right at the edge. In a second it will recover its composure, as its crater hits close slowly. She has failed. Now it will kill them both, Except. CLOSEUP TERMINATOR, as the chain drive brings it into view. Half human flesh, half chrome steel. His red eye gazes right at us as he - FIRES. 210A The T - 1000 takes the round in the belly. The grenade EXPLODES inside its body. A huge hole is blown clean through it, and it is ripped open and peeled back, half inside - out. It topples into the molten steel and - The T - 1000's head and upper body reappear above the molten steel. It is screaming. A terrifying, inhuman siren of a scream. It is changing, morphing, transforming into anything and everything it's ever been so rapidly the eye can barely follow it - We catch a glimpse of Janelle Voight checkered with the linoleum tile colors, Lewis the Guard with knives exploding from his face, other faces, switching at a stroboscopic rate now. a face every two frames until they merge into one face - The T - 1000 screams and slips beneath the surface of the molten steel. We see liquid silver running in dissipating whorls over the superheated surface. until it vanishes, swirling into nothing. JOHN runs to Sarah. She stands staring into the pit. The empty shotgun slips from her fingers. Clatters to the floor. He sees that she's okay and he runs to the fallen Terminator. 212A The crippled cyborg is trying to rise. Its servos whine and stutter. It pathetically lifts itself to a kneeling position, collapses. tries again. John lifts for all he's worth. Sarah joins them, helping. The help the crippled machine get on its feet. It can barely stand. TERMINATOR I need a vacation. They walk to the edge of the pit. Terminator looks down and sees that it is over. JOHN -LRB- to Terminator. -RRB- Is it dead? TERMINATOR Terminated. John unzips Sarah's backpack and takes out the hand of the first terminator. JOHN Will it melt in there? TERMINATOR Yes. Throw it in. He does. It sinks into the lava. Vanishes. TERMINATOR And the chip. John takes it out of his pocket. Looks at it. Tosses it into the smelter. SARAH It's finally over. TERMINATOR No. There is another chip. He touches a metal finger to the side of his head. TERMINATOR And it must be destroyed also. John suddenly understands what he means. Terminator looks at Sarah. They both know what must be done. John shakes his head. JOHN No! TERMINATOR I'm sorry, John. JOHN No, no no! It'll be okay. Stay with us! TERMINATOR I have to go away, John. JOHN Do n't do it. Please. do n't go - Tears are streaming down his face. TIGHT CLOSEUP TERMINATOR, turning toward John. The human side of his face is in shadow, so we see mostly the chrome skull and the red eye. TERMINATOR It must end here. or I am the future. JOHN I order you not to! Terminator puts his hand on John's shoulder. He moves slightly and the human side of his face comes into the light. He reaches toward John's face. His metal finger touches the tear trickling down his cheek. TERMINATOR I know now why you cry. But it is something I can never do. -LRB- to both of them. -RRB- Goodbye. Sarah looks at Terminator. Reaches out her hand to shake it. They lock eyes. Warriors. Comrades. SARAH Are you afraid? TERMINATOR Yes. He turns and steps off the edge. They watch him sink into the lava. He disappears. the metal hand sinking last. at the last second it forms into a fist with the thumb extended. a final thumbs up. Then it is gone. HOLD ON JOHN AND SARAH, watching through the heat ripples as we - THE SUN, PURE IN A CLOUDLESS SKY Tilting down reveal that we are in a park, very green. People are casually dressed, having fun. Cycling, reading. children are playing in a playground. Beyond the line of tree we see the skyline of Washington, D.C., with the Capital Building and the Washington Monument. The skyline is subtly changed, with a lot of new buildings, advanced high - rises. A CARD APPEARS July 11, 2029. WE BOOM DOWN AND TRACK LATERALLY through a playground in the foreground. Children swinging on swings. Sliding down slides. Timeless things that 4 decades of technical advancement will not change. As we track we hear : SARAH -LRB- V.O. -RRB- August 29th 1997 came and went. Nothing much happened. Michael Jackson turned forty. There was no Judgment Day. People went to work as they always do, laughed, complained, watched TV, made love. We pass a jungle gym, neither melted nor burned, but full of kids swinging and yelling raucously. Past it we drop down to see a boy pumping the pedals of a tricycle. SARAH -LRB- V.O. -RRB- I wanted to run down the street yelling. to grab them all and say `` Every day form this day is a gift. Use it well!'' Instead I got drunk. STILL TRACKING we come to rest on an elderly woman seated on a bench. It is SARAH, now 64 years old. The world has aged her, but she seems at peace in this moment. She speaks into a microcassette recorder. SARAH -LRB- V.O. -RRB- That was thirty years ago. But the dark future which never came still exists for me, and it always will, like the traces of a dream lingering in the morning light. And the war against the machines goes on. Or, to be more precise, the war against those who build the wrong machines. There is a man in is forties playing with two small children nearby. He turns. It is John Connor. Through he has the same stern features in adulthood, there is no eye - patch, no scarring. He is far from the haggard man on grim destiny we saw in the world that might have been. But there is still penetrating intelligence, even wisdom, in his eyes. SARAH -LRB- V.O. -RRB- John fights the war differently than it was foretold. Here, on the battlefield of the Senate, the weapons are common sense. and hope. A FOUR - YEAR - OLD GIRL runs to her to have her shoelace tied. GIRL Tie me, grandma. Grandma Sarah smiles. It is the only time we have seen her smile so far. She bends as the little girls puts her foot up on the bench. She ties as we hear : SARAH -LRB- V.O. -RRB- The luxury of hope was given to me by the Terminator. Because if a machine can learn the value of human life. maybe we can too. Sarah ruffles the kids's hair as she runs off to play with her dad. FADE OUT" ]

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[ "EXT. NARITA AIRPORT - NIGHT We hear the sound of a plane landing over black.", "INT. CHARLOTTE'S ROOM - NIGHT The back of a GIRL in pink underwear, she leans at a big window, looking out over Tokyo. Melodramatic music swells over the Girl's butt in pink sheer underwear as she lies on the bed. TITLE CARDS OVER IMAGE. LOST IN TRANSLATION", "INT. CAR - NIGHT POV from a car window - the colors and lights of Tokyo neon at night blur by. In the backseat of a Presidential limousine, BOB -LRB- late - forties -RRB-, tired and depressed, leans against a little doily, staring out the window. P.O.V. from car window - We see buildings covered in bright signs, a billboard of Brad Pitt selling jeans, another of Bob in black & white, looking distinguished with a bottle of whiskey in a Suntory ad. more signs, a huge TV with perky Japanese pop stars singing.", "EXT. PARK HYATT - NIGHT Bob's black Presidential -LRB- looks like a 60's diplomat's car -RRB- pulls up at the entrance of the Park Hyatt, a modern sky rise. The automatic doors open on the car, as Bob gets out. Eager BELLHOPS with white gloves approach at the sight of the car, welcoming Bob and helping him with his bags.", "INT. PARK HYATT - NIGHT Bob stands in the back of a crowded elevator surrounded by Japanese businessmen below his shoulders. The elevator stops at the 50th floor and the doors open onto the massive, streamline lobby of the Park Hyatt. Bob follows the JAPANESE BUSINESSMEN out into the marble and glass lobby that frames the view of Tokyo. The CONCIERGE and several eager HOTEL MANAGERS greet Bob. He just wants to sleep, but more STAFF continue to greet him, ask him about his fright. They lead him to reception.", "INT. HOTEL RECEPTION - NIGHT At the reception area four JAPANESE BUSINESSMEN and two WOMEN quickly sit up from their seats on sight of Bob, and extend handshakes and gifts. They bow and introduce themselves from the commercial company, extend name cards and welcome him enthusiastically. More staff welcomes him and offer their service during his stay. One of them presents a fax that has come for him. INSERT - `` TO : BOB HARRIS FROM : LYDIA HARRIS YOU FORGOT ADAM'S BIRTHDAY. I'M SURE HE'LL UNDERSTAND. HAVE A GOOD TRIP, L'' He does n't know what to do with it, and stuffs it in his pocket. The commercial people tell him when they'll be picking him up, and ask if he needs anything else. Some JAPANESE ROCK STARS with shag haircuts and skinny leather pants pass by. Each commercial person has to shake Bob's hand before leaving.", "INT. BOB'S HOTEL ROOM - NIGHT Bob sits on the end of the bed in a too small hotel kimono.", "INT. PARK HYATT BAR - NIGHT Bob sits at the bar. A few minutes pass as he sits in silence looking around, drinking a scotch. Chet Baker sings `` The Thrill is Gone'' over the stereo. We see Bob's POV of tables of people talking. JAPANESE WOMEN SMOKING, AMERICAN BUSINESSMEN tying one on, talking about software sales. A WAITER carefully setting down a coaster, and pouring a beer very, very slowly. It's all very foreign.", "INT. BOB'S HOTEL ROOM - MORNING The automatic hotel curtains open, pouring light into the room.", "INT.HOTEL BATHROOM - DAY Bob gets in the shower overlooking the view of Tokyo. The shower head is at his elbows, he raises it as high as it goes, and leans down to have a shower. This hotel was not designed with him in mind.", "INT. STUDIO - DAY Whiskey commercial shoot. The set is full of activity as the JAPANESE CREW work. Bob, in a shawl collared tuxedo sits at a European style bar set with a cut crystal glass of whiskey. A JAPANESE GIRL quickly powders his face as they adjust lights and the DIRECTOR and crew speak in hurried Japanese. The Director -LRB- with blue contact lenses -RRB- says a few long sentences in Japanese. TRANSLATOR, a middle - aged woman in a coordinated outfit, translates but it is only a short sentence now. TRANSLATOR He wants you to turn, look in camera and say the lines. Bob wonders what she's leaving out, or if that's the way it works from Japanese to English. BOB That's all he said? TRANSLATOR Yes, turn to camera. Bob thinks let's just get it over with. BOB Turn left or right? The Translator blots her face with a tissue, and asks the director in a Japanese sentence 5 times as long. The Director answers her in a long excited phrase. TRANSLATOR Right side. And with intensity. BOB Is that everything? It seemed like he was saying a lot more. The excited Director says more in Japanese. Translator nods in understanding. Bob does n't really know what's going on. TRANSLATOR Like an old friend, and into the camera. DIRECTOR -LRB- to Bob. -RRB-. -RRB- Suntory Time! They get ready, and roll camera : Bob turns and looks suavely to the camera : BOB For relaxing times, make it Suntory Time. The Director yells something about ten sentences long. The translator nods. TRANSLATOR Could you do it slower, and with more intensity? BOB Okay. The Translator answers for him in four sentences. ON THE MONITOR - we see the next take : the moody lighting shines on Bob, the camera gets closer as he stares into camera and gives them the line. BOB For relaxing times, make it Suntory Time.", "EXT. TOKYO - NIGHT Shinjuku High rises sparkle.", "INT. PARK HYATT BAR - NIGHT Tall glass walls show the neon and high - rises of the city. A sad and romantic Bill Evans song plays. Bob sits alone with a scotch at the bar. Some drunk AMERICAN BUSINESSMEN, with their ties thrown over their shoulders recognize him. BUSINESS GUY Hey - you're Bob Harris - you're awesome, man. ANOTHER BUSINESS GUY Yeah, I love Sunset Odds! BOB Oh, Ok, thanks. BUSINESS GUY Man, that car chase - Bob nods.", "INT. BOB'S HOTEL ROOM - NIGHT Bob comes back to his room. The maids have left everything perfect, his beige bed is turned down, and the TV has been left on to a channel playing a montage of flower close - ups in nature while sad violin music plays. It's supposed to be relaxing, but it's just sad. Bob lies in bed. He flips through TV channels from the remote control. He passes a Japanese game show, to an 80s Cannon Ball run - type movie with him in it dubbed into Japanese. He turns it off as he hears a knock at the door. He goes to the door, and opens it part way. WOMAN -LRB- O.C. -RRB- -LRB- Raspy Japanese voice. -RRB- Mr. Harris? BOB Yes? WOMAN Mr. Kazuzo sent me. BOB Oh? WOMAN Can I enter? He pauses, then opens the door. A WOMAN in her forties in a short tight leather mini skirt and stockings comes in. She is wearing'60s style make - up. Bob sits on the bed not sure what to do as he watches her. Bob's POV - We see her back to us as she puts a CD on the stereo - it begins to play : Serge Gainsberg and Brigitte Bardot sing `` Bonnie & Clyde''. The woman turns slyly around and shimmies over to Bob. WOMAN -LRB- as she tries to undress him. -RRB- Mr. Harris? BOB Yes? WOMAN Do you like massage? BOB I do n't think so. WOMAN Mr. Kazuzo send Premium Fantasy. She pushes him back onto the bed. He hesitates, but then goes along with it passively. WOMAN My stockings. BOB Yes? WOMAN Take them. He fumbles with her stockings, trying to do as she says. WOMAN No - Lip them. Do n't touch me! He takes his hands back confused. WOMAN Lip my stockings! He backs away, as he tries to understand her. WOMAN Lip them! She throws her leg up to him on the bed. BOB Huh? She pantomimes ripping them. He finally understands. BOB Oh, you want me to rip them? He pulls at her stockings trying to rip them, but they just snap. She pretends to struggle. WOMAN Please let me go! He pulls his hands away. She grabs them and puts them back on her, and keeps struggling dramatically. They wrestle around awkwardly, her pretending to try to get away, but not letting him go. She rips her stockings and falls off the bed in fake - defense. WOMAN Let me go! She pulls a confused Bob down on top of her. He does n't know what she wants. She rips another stocking and pins him on the ground. He tries to crawl away, she grabs his leg and trips him. He grabs a nearby table leg as he falls, the lamp crashes to the floor, the room goes black. BOB I think you should leave.", "INT. HOTEL RESTAURANT - DAY In the harsh sunlight of the big windows Bob eats breakfast alone. Next to him is a table of TEXANS in cowboy hats. At another table a JAPANESE COUPLE in sunglasses chain smoke and drink coffee.", "INT. HOTEL ELEVATOR - DAY Bob gets into the ded elevator. He is stopped momentarily by the Concierge who asks him if everything is fine for his stay. In the elevator Bob's surrounded by JAPANESE BUSINESSPEOPLE and a FAMILY dressed for a wedding. Across, at the other side of the elevator he sees CHARLOTTE, a pretty Ivy - league girl in her mid - twenties, and the only other Westerner in the elevator. Her honey - colored hair stands out in the crowd. She's looking at him like you do when someone new comes in the elevator, but the Japanese look straight ahead at the elevator doors. Charlotte and Bob look at each other across the Japanese heads. She smiles, from one foreigner to another. The door opens and she gets out with the crowd. Bob watches her leave. MISS KAWASAKI Mr. Harris He is approached by a group of eight excited people from the commercial company there waiting to take him. PRESS AGENT -LRB- as they are on their way. -RRB- We just got a request from Tanabe Mori - he is the Johnny Carson of Japan! It is a big honor to be invited to his show. Bob feigns enthusiasm briefly. MISS KAWASAKI Can you stay until Friday? BOB I'll have to see about that.", "INT. PHOTO STUDIO - DAY Bob's back is to us as a MAKE - UP ARTIST is putting some final touches on him. The PHOTOGRAPHER is giving her enthusiastic direction in Japanese. Bob talks on his cell phone, not paying attention to the make - up artist. BOB Can you get me on a flight Thursday night? ELAINE -LRB- O.S. -RRB- We're looking into it Bob, but they really want you to stay to do that talk show Friday, apparently it's a really big deal, he's the Johnny Carson of Japan. BOB Yeah, they told me. ELAINE -LRB- O.S. -RRB- These people are paying you a lot, do you think you could consider it? BOB Just get me out of here as soon as you can. ELAINE -LRB- O.S. -RRB- Ok, you're scheduled to leave Saturday, but we'll hold a seat Thursday in case, but first class is full, you're waitlisted for an upgrade. there might be a seat on Lufthansa. BOB Oh, great. I'll talk to you later, bye. He hangs up. The make - up artist dusts him with powder. The commercial people are crowding around. Bob's chair is swivelled around and we see him in his tuxedo, wearing too much make - up and some weird looking eyeliner. In front of a grey backdrop, moody lighting is being adjusted and Bob is handed a bottle of Suntory. small documentary crew moves in on Bob with a video camera - the camera man is tilting the camera at his face in arty dutch camera moves. The agency people crowd around. The photographer is excited and urges Bob to do dumb poses, he wo n't do. PHOTOGRAPHER Can you put hands close to face. The photographer demonstrates a dramatic pose with his hands at his face. BOB Urn, I do n't think so. How bout I just hold the bottle. The photographer starts shooting. Bob obviously hates the whole thing, what you do for money.", "INT. PARK HYATT BAR - NIGHT Bob, still in his tuxedo and make - up from the shoot, sits alone having a drink. A JAZZ BAND FROM SAUSALITO performs. The SINGER is a middle - aged woman with red wavy hair, dressed in red, and takes her singing very seriously. She sings a slow version of `` Parsley, Sage, Rosemary and Thyme''. C.U. - a golden beer is poured very slowly. Bob drinks his scotch, hoping it will all go away. Across the bar, Charlotte sits with JOHN, her husband -LRB- he is in his late twenties and sloppy in a fashionable way -RRB-, and some FRIENDS - super stylish, weird Japanese fashion people -LRB- all smoking -RRB-. One of them, CHARLIE, in a shiny suit, keeps taking pictures, and showing them magazine layouts. JAZZ SINGER Thank you. We're glad to be here, we're Sausalito. Charlotte laughs and looks down, the Japanese audience clap very seriously. she and Bob catch eyes - about Sausalito and how weird it is there.", "INT. ELEVATOR - LATER The mirrored elevator doors close and Bob sees himself close - up in the elevator's mirrored walls - noticing the heavy makeup and weird eyeliner from the shoot which he had forgotten about. He looks at himself.", "INT. CHARLOTTE'S HOTEL ROOM - NIGHT Charlotte lays close to her young husband, John. She looks to see if he's awake, but he's sleeping soundly. She leans her chin on his shoulder. CHARLOTTE Are you awake? He does n't answer. CHARLOTTE John? He grumbles something, opens one sleepy eye to look at her, and grabs her under the covers. He kisses her. JOHN Go to sleep. He holds her close, but she ca n't sleep. Charlotte sits on a ledge looking out at the big buildings. The sun is starting to come up. Below she watches cars going places.", "INT. BOB'S HOTEL ROOM - NIGHT Bob lies in bed awake. The clock says 4:20. The in - room fax machine is making noise as a fax rolls in. Bob looks at the fax machine but does n't get out of bed. The fax curls and falls to the floor. CLOSE ON FAX - `` BOB - YOU DID N'T TELL ME WHICH SHELVES YOU WANT IN YOUR STUDY. PLEASE PICK ONE OUT AND LET ME KNOW. I'M HAVING LOTS OF QUALITY TIME WITH THE CONSTRUCTION CREW. HOPE YOU'RE HAVING FUN THERE. LOVE, L'' Three pages of shelf diagrams follow.", "INT. HOTEL GYM - NIGHT The gym is empty except for an old man vacuuming. Bob passes piles of little towels and bottles of water. He takes a water for his workout. He approaches an exercise machine and puts the water in the drink holder of the machine. He looks at the lit - up instruction panel'99 it is all in Japanese. He pushes a button, and the machine starts beeping, then a soothing woman's voice recites instructions in Japanese. He gets on it, and sinks. He tries to make the arms and foot peddles coordinate. He pushes a button and it starts moving too fast. In an upward rotation he tries to reach the control panel, but is not fast enough. The soothing woman's voice continues instruction. -LRB- she occasionally includes an English word - gently, gently. vigorous -RRB- He tries to keep up with it, and tries again to push the right button to slow it down, but the machine steps starts going swiftly backwards instead.", "INT. PARK HYATT LOBBY (GROUND FLOOR) - DAY The agency group wait for Bob. They stand up as he approaches from the elevator, trying to mask a slight limp. BOB -LRB- everything's fine. -RRB- Good morning. Miss Kawasaki notices his limp with concern as they leave the hotel.", "EXT. SHIBUYA STATION - DAY Charlotte gets out at shibuya station, a crowded neighborhood filled with neon, ads, and people. She looks up at the huge intersection as tons of JAPANESE PEOPLE wait to cross the street, no one steps forward until the cross - walk light changes, and all of them cross. A TV screen covering a building plays commercials. She roams around the narrow streets, crowded with stylish JAPANESE KIDS, tan SCHOOLGIRLS pass her. Charlotte wanders down a crowded street, looking around. On a small side street she stops at a little park. She watches a JAPANESE MAN AND WOMAN together : CHARLOTTE'S POV - C.U.. The man reaches his hand to the back of the woman's neck, and leans in close. The woman smiles at him, in love.", "INT. CHARLOTTE'S HOTEL ROOM - NIGHT John is sound asleep. Charlotte is awake next to him. She looks at the clock - it's three a.m.. She slides close to him, kisses his mouth. He grumbles something in his deep sleep, and rolls over. She goes to the couch, stepping over camera equipment. She looks at the fruit basket, decides to try an apple. She has a piece but is n't really hungry. She reaches over some proof sheets and looks at a magazine, but she's already looked at it a few times before. She decides to go downstairs.", "INT. PARK HYATT BAR - NIGHT Bob sits alone at the bar. Charlotte sits down a seat away from him, lost in his thoughts, he does n't see her until he turns and finds her next to him. They look at each other. A young BARTENDER with a sweet face tends to them. BARTENDER What can I get you? CHARLOTTE I'm not sure. BOB -LRB- line from commercial. -RRB- For relaxing times, make it -- BOB & BARTENDER ` Suntory time'! Charlotte smiles at him sympathetically CHARLOTTE What are you doing here? BOB My wife needs space, I do n't know my kids' birthdays. Everyone wants Tiger Woods, but they could get me, so I'm here doing a whiskey commercial. She looks at him. CHARLOTTE Oh. She lifts a cigarette, he lights it for her. CHARLOTTE I'll just have a beer. He makes small talk about the pickled seaweed breakfast and jet lag, they commiserate about having not slept in days. BOB What about you? Why are you here? CHARLOTTE My husband's here for work - he's a photographer - and I just came along. I'm not really doing anything right now, and we have some friends who live here. BOB How long have you been married? CHARLOTTE Two years. BOB Try twenty - five. CHARLOTTE You're probably just having a mid - life crisis. Did you buy a Porche? BOB I'm thinking about it. CHARLOTTE 25 years. that's a long time. Are you still in love with your wife? BOB Yes. I do n't know, I do n't know her anymore. I do n't know if you can be in love with one person the whole time. I was. actually I was in love with her sister first, when I was twenty - one. And one day her sister said to me she wanted to move to Paris, so I said okay, and she said no, she wanted to move to Paris with Francois, and she's still married to him. And I moved in with Lydia. but I always really liked Lydia. CHARLOTTE -LRB- amused with too much info. -RRB- Oh. BOB What do you do? CHARLOTTE I'm not sure, yet. I graduated last spring. BOB What did you study? CHARLOTTE Philosophy. BOB Oh, what do you do with that? CHARLOTTE I do n't know, but I can think about it, a lot. BOB It takes a while to figure it out. I'm sure you will, though. CHARLOTTE Thanks. I'm sure your mid - life crisis will work out, too. BOB Thanks. They clink glasses. CHARLOTTE I wish I could sleep BOB Me, too.", "INT. HOTEL LOBBY - DAY The hotel is filled with business people. A dressed up FAMILY is going to lunch. We follow a jet - lagged Charlotte and John, as they walk down the lobby hall. An energetic blonde actress, KELLY, pops up to them. -LRB- She's carrying a copy of Memoirs of a Geisha. -RRB- John, who was holding Charlotte's hand, drops it. KELLY John! What are you doing here? JOHN I'm just here shooting this band, what about you? KELLY Promoting that action movie I did. She does a karate chop and laughs. KELLY doing like twenty million interviews a day. It's soo good to see you. How long are you here for? JOHN We're here for the week. I'm shooting in Osaka for a few days. KELLY It's amazing there! JOHN Have you met Charlotte? My wife. KELLY No! Hi! So great to meet you! CHARLOTTE Hi, nice to meet you. KELLY You know, John, you're my favorite photographer, I only want to be shot by you. Charlotte looks at John. JOHN Uh. thanks. KELLY -LRB- as she fans out her top. -RRB- Sorry if I have the worst B.O., I've been sweating in this little room with T.V. lights for hours. Kelly, giggling and acting all too comfortable with herself, is eating up all the oxygen around them. JOHN Oh no. KELLY -LRB- with a big smile. -RRB-. Well, I have the worst headache, I have to go find some aspirin. But, call me, let's have a drink, I'm under Evelyn Waugh. Kelly giggles. Charlotte smirks. JOHN Ok, see you later. And Kelly and her make - up artist and publicist are off. John and Charlotte continue. CHARLOTTE Evelyn Waugh? JOHN What? CHARLOTTE Evelyn Waugh was a man. John shrugs. JOHN Oh, c'mon, she's nice. Not everyone went to Yale. Charlotte shoots him a look. JOHN Its just a pseudonym, it does n't matter. CHARLOTTE Why do you have to defend her? JOHN I'm not, but do you have to point out how stupid everyone is. CHARLOTTE No, I thought it was funny. Forget it. His producer comes up to them. John puts his arm around Charlotte, kisses her, everything's fine. PRODUCER -LRB- looks at his watch. -RRB- We should get going. JOHN OK, I'll see you later. He kisses her on the cheek, and is gone.", "INT. CHARLOTTE'S HOTEL ROOM - DAY Charlotte walks into the empty hotel room. C.U. - Charlotte's feet as she clips her toenails. C.U. - Charlotte's hand by an ashtray, writes in a journal. Charlotte looks in a mirror, trying on an unfinished scarf she's knitting. She checks the length on herself. Charlotte sits on the big window sill checking her messages on the phone. CHARLOTTE -LRB- O.S. -RRB- -LRB- voice mail recording. -RRB- Hi, leave a message. We hear the # key as Charlotte hits it to interrupt the message. VOICE MAIL You have eighteen new messages. Press - She hits a button. MAN'S VOICE -LRB- O.S. -RRB- Hi Charlotte, I do n't know if you're in town. but I'm having a birthday party for my dog, Louise, tomorrow night, at my house around eight. She pushes a number to delete the message. MOTHER -LRB- O.S. -RRB- fabulous time in Japan! How exciting, and hope you and your adorable husband are enjoying it. I was sitting next to Cathryn Myles last night at this dinner and she was telling me about her daughter who had this awful boyfriend and a messy break - up and how hard it is, and now she's single and wants to start a family, I'm so glad that you're settled, and not in that situation. Anyway, call me when you have a chance, I'm trying to put Thanksgiving plans together, whether we want to go skiing or. Daddy wants to stay home and have it here, which might be easier with Lauren and the children, but let me know what your feelings are, I do hope you and John can make it. Call me, I love you. Charlotte pushes a button. VOICE MAIL -LRB- O.S. -RRB- Charlotte hangs up Charlotte lies on the bed, in the knit scarf and underwear She's doing a quiz in a magazine : `` ARE YOU HAVING A MID - TWENTIES CRISIS? ARE YOU FATIGUED? DO YOU HAVE NO IDEA WHERE YOUR CAREER IS GOING? DO YOU HATE MOST PEOPLE?''", "INT. HOTEL POOL - DAY An Olympic pool is framed by tall glass walls with the Tokyo view. Bob is handed a swim cap and goggles. Bob watches a Japanese BUSINESSMAN swimming, he looks like an over - grown baby. Bob swims laps in the pristine pool. He continues his laps. Under water he sees the jumping legs of MIDDLE - AGED WOMEN. A disco mixed tape starts, and above water we see a WESTERN INSTRUCTOR in tight shorts leading an aqua - aerobics class to the group of WOMEN, They jump up and down to Sister Sledge.", "INT. HOTEL SPA - DAY Bob walks past the rows of lockers to the Sauna room. He sits in the sauna, two HOTEL GUESTS speak German in the corner. Bob comes out from the sauna, red and sweaty. Bob submerges in the cold water of a small pool in the sauna room, having a moment of relief.", "INT. CHARLOTTE'S ROOM - DAY Charlotte lies on the floor with big headphones on, listening to a book on tape. After a corny music intro, a very serious scholar man's voice speaks clearly : DR. KENGARD -LRB- 0. S. -RRB- Did you ever wonder what your purpose in life is? This book is about finding your soul's purpose or destiny. Every soul has its path, but sometimes that path is not clear. The acorn theory is an example of each soul beginning with an imprint. Charlotte tries to get into it, but ca n't get past feeling like a loser listening to a self - help tape. She looks at the doctor's photo on the audio - book box, he's bald, in a turtleneck and glasses.", "INT. HOTEL - DAY Charlotte follows a JAPANESE FAMILY in formal dress out of the elevator onto the mezzanine level. She wanders down a big hall. She sees an open door and steps in the crowded room, which is in the midst of a press conference. Cameras flash as Kelly, with wide eyes, behind a table, answers questions enthusiastically. KELLY You know, barbecuing, and yoga, and I love taking my dogs, Buster and Lulu, for walks on the beach. and it was great learning karate for `` Midnight Racer'' - I did all my own stunts! The JAPANESE JOURNALISTS seem excited by her answer. Kelly throws a Karate punch for a PHOTOGRAPHER. SWEATY JOURNALIST What was it like working with Keanu Reeves? KELLY It was great. I've known him for a while now - you know we both live in L.A.. We both have dogs. Charlotte walks out.", "INT. HOTEL HALLWAY - DAY Charlotte continues down a hall, she stops at an open door and peeks in. A quiet group of JAPANESE WOMEN are gathered around a table. Charlotte goes in, as she gets closer she sees they are being instructed in Ikebana floral design. Each woman has a little vase and elegant flower cuttings. She watches as they delicately arrange the tiny flowers. The INSTRUCTOR hands Charlotte a vase and cuttings. Alongside the women, Charlotte tries to follow along.", "INT. CHARLOTTE'S HOTEL - BATHROOM Charlotte reclines low in the bathtub staring off. She can see mount Fuji in the distance. The audio tape plays on the stereo. DR. KENEGARD -LRB- dry & monotonous. -RRB- Plato's text calls this image the `` paradeigma''. So the lot is the image that is your inheritance, your place on earth, all compacted into a pattern that has been selected by your soul before you even got here - or better said, that is always and continually being selected by your soul, because time does not enter the equation of myth. -", "INT. CHARLOTTE'S HOTEL ROOM - EVENING With her back to us, Charlotte looks out the big window. John comes up and kisses her. CHARLOTTE How'd it go today? JOHN Good. I'm tired. He hugs her for a moment, leaning on her. JOHN I got ta go meet Kelly for a drink downstairs. She wants to talk about some photo thing. CHARLOTTE Ok. Maybe I'll walk down with you. JOHN You wan na come? CHARLOTTE Sure. JOHN -LRB- does n't really want her to. -RRB- Ok.", "INT. PARK HYATT BAR - NIGHT At a corner table Charlotte sits with John, Kelly, and DJ CLEAN, a skinny kid in a sweatshirt, on tour in Japan. Charlotte is bored while Kelly talks on. Sausalito performs in the background. KELLY My Dad was anorexic. CHARLOTTE -LRB- she's never heard of that. -RRB- Really? John shoots Charlotte a look. KELLY -LRB- very serious. -RRB- He was on the American side at the Bay of Pigs, in Cuba, and he was taken prisoner, and they tortured them about their food the whole time. BENZO Where? KELLY My dad fought on the American side at the Bay of Pigs. So, when he was a prisoner, they would tell them they had put poison in their food and they would make themselves throw up. and when he got back, he did better, but he still has food issues. He has to have really clean food. And really simple. He ca n't just go have, say, Chinese food. JOHN -LRB- trying. -RRB- Oh, that's too bad. Charlotte ashes her cigarette in a clean ashtray, and she watches as it is quickly replaced with a new one by a WAITER. BENZO -LRB- nodding at the view. -RRB- How crazy is this shit? CHARLOTTE Yeah, it is. DJ Clean starts doing a human beat box at her. Charlotte looks over at Kelly. KELLY Oh my god you have to try it, this power cleanse is amazing - it's lemon juice and grade B maple syrup and cayenne pepper for seven days. Just like a half a teaspoon of cayenne. The first few days you're a little scattered, but by day four - it's amazing. my eyes were so white. Charlotte excuses herself. She passes Bob who sits at his usual spot at the bar, as she is leaving. CHARLOTTE Hi again, how's it going? BOB Who do I have to fuck to get off this planet? Charlotte laughs with sympathy, but does n't know what to tell him.", "INT. CHARLOTTE'S HOTEL ROOM - NIGHT John sleeps soundly -LRB- turned away from her -RRB-, Charlotte ca n't sleep. She turns on the T.V. to a crazy local T.V. variety show.", "INT BOB'S HOTEL ROOM - NIGHT Bob ca n't sleep, he watches the same show on T, V. He flips the channel - it's an old black & white Japanese movie of a man committing Hari Kari.", "EXT. TOKYO - MORNING Charlotte finds her way down a narrow street in an old section of Tokyo. She turns a corner and finds a square with what she was looking for.", "EXT. TEMPLE - DAY The sun shines over a beautiful old temple. Birds chirp, Charlotte approaches and goes inside.", "INT. TEMPLE - DAY Charlotte stands in the back and watches a ceremony. A ROSHI speaks in Japanese, monks chant. It's all very foreign. Charlotte tries to feel something.", "INT. CHARLOTTE'S HOTEL ROOM - AFTERNOON Charlotte sits on the bed talking to John who's coming out of the bathroom, getting ready to go to work. He checks himself in the mirror, CHARLOTTE Am I shallow? JOHN No, what are you talking about. CHARLOTTE I went to a temple today and I did n't feel anything. JOHN That's ok. He looks for his mobile phone. CHARLOTTE I do n't know what to do. JOHN That's ok, you'll figure it out. He comes close and kisses her. CHARLOTTE You smell weird. JOHN What? She leans back to look at him. CHARLOTTE Like popcorn? JOHN I got some hair stuff. She looks at him funny. CHARLOTTE Hair stuff? JOHN I got ta go to work. He grabs her, kissing her good - bye, she wraps her him, when his cell phone rings. JOHN I'll be right down. I'm just leaving. ok. He kisses her, and leaves. JOHN See you later. CHARLOTTE Bye. She makes a call. We see her back and hair, as she looks out the bright window. CHARLOTTE Lauren? LAUREN -LRB- O.S. -RRB- Charlotte?! How's Tokyo? CHARLOTTE It's cool. but, I do n't know. I went to a shrine today and all these little monk's were chanting. and, I did n't feel anything. I even tried ikebana,. and John's using hair products. I do n't know who I --. Lauren's Call - waiting beeps, cutting off her sentence. LAUREN Oh, wait, can you hold on one sec? CHARLOTTE Sure. Charlotte waits. LAUREN Sorry about that, what were you saying? In the background a baby starts crying. CHARLOTTE Oh, it's nothing. I better go, I'll talk to you later. LAUREN Ok, have fun there, you're so lucky you do n't have any kids yet and you can go off to Japan. call me when you get back. CHARLOTTE Ok, bye. She hangs up. She sits there for a moment, starting to cry, she wipes the tears, trying to make them go away.", "INT. SUBWAY - AFTERNOON Tokyo goes by out the window. Charlotte looks at the PEOPLE on the crowded train. A sweaty BUSINESSMAN blots his face with a little handkerchief. Another older BUSINESSMAN reads an erotic comic book.", "INT. SUBWAY STATION - AFTERNOON Charlotte looks up at the many signs, trying to figure out which way to go, but they are all in Japanese characters. Confused, she chooses the west exit.", "EXT. STREET - AFTERNOON Charlotte walks down a little street in a quiet neighborhood. She stops at a window of a portrait studio and looks at all of the wedding portraits. They are very formal and retouched, Japanese brides and grooms dressed in a Western old - fashion style.", "EXT. ARCADE - DAY Charlotte looks through the window as a tan Japanese boy, tries to win a stuffed animal for his girlfriend.", "INT. ARCADE - AFTERNOON In a crowded arcade, Charlotte watches some kids play Dance Revolution, a video game where you dance along to cues on the light - up floor. One BUSINESSMAN in a suit is really good and into it. She sees a sushi chef game where you have to cut an electronic fish. She looks at a firefighter game, and rows of plexi boxes filled with some little character dolls you try to win.", "INT. GALLERY BOOKSTORE - DAY Charlotte looks at the shelves of books she passes, she flips through some books. She walks over to a small gallery space and goes up to the wall to see the small photos. They are of tied - up, partially naked Japanese school girls, one girl is spanking another one with a stuffed animal. She's making a face of ecstacy. Charlotte looks at it, not getting it.", "EXT. SHIBUYA - DAY Charlotte stands alone on a side street, smoking a cigarette and watching the CROWDS go by.", "EXT. SHIBUYA - DAY Charlotte walks up a little street filled with shops. She stops at a window of cute underwear that she.looks at. She goes into the shop.", "INT. CHARLOTTE'S HOTEL ROOM - LATE AFTERNOON 51C. U. Charlotte's lips. She puts watermelon color lipstick on.She looks at herself in the mirror in her new underwear. We hear the shower running in the bathroom. Charlotte decorates the room, putting up some paper cherry blossom decorations. She goes over to the bed and stubs her toe on it, as she flops down. CHARLOTTE Ouch. She holds her toe, annoyed with her klutziness. John talks to her from the shower. JOHN -LRB- O.C. -RRB- At the fitting, they had all these rock n roll clothes, the label guys kept saying lock n loll, though, but the band does n't look tough at all. they look better just skinny and nerdy, like how when they came in. they looked so uncomfortable in these Keith Richards clothes, they should just be like they are, do n't you think? She's drifted off. CHARLOTTE Yeah. JOHN Yeah, I think you're probably right. because when you try to. He gets out and is rushing to get his stuff together to go. Charlotte's lounging on the bed in her new pink underwear. She tries her scarf on that she's been knitting. CHARLOTTE Do you think it's done? JOHN I do n't know. He goes to get all his stuff together. He passes an ashtray with cigarette butts in it. JOHN Will you please stop smoking? CHARLOTTE But I like to. and I do n't smoke that much. JOHN Its bad for you. CHARLOTTE Ok, I will. later. He picks up a camera from a table in the corner. He looks at the self - help audio book box. JOHN A Soul's Search : Finding Your True Character and calling? Is this yours? CHARLOTTE Oh. that's nothing, someone gave it to me. JOHN You do n't have to be embarrassed. CHARLOTTE I'm not. It's just corny, but I'm not into it. JOHN It's ok if you are. He kisses the side of her face and her shoulder like a cute pet, and then continues getting his stuff together. John sets two bottles of Cristal on the bed next to her, not really seeing her. JOHN Oh, the record company sent these. CHARLOTTE Mmm, I love Cristal, let's have some. JOHN I got ta go. and I do n't really like champagne. As he unplugs his cell phone from the wall. JOHN Are you sure you want to stay? CHARLOTTE Are you sure you have to go? He looks at her - like do n't make it harder. CHARLOTTE Yeah, I know you have to work the whole time, I'll probably have more fun here. I'll call Charlie and those guys. JOHN Ok, definitely call them, I'll be back Friday. I love you. They kiss. CHARLOTTE I love you. He tackles her, kisses her, bites her, grabs her ribs, tickling her in a burst of affection. She laughs, her arms around his neck. CHARLOTTE I miss you. JOHN It'll just be a few days. He kisses her and is off. Charlotte sits there alone with the unopened bottles of champagne.", "INT. PARK HYATT POOL - EVENING Water splashes as Charlotte dives into the pool -LRB- in a one - piece bathing suit -RRB- as the sun goes down.", "INT. PARK HYATT HALL - EVENING Leaving in her robe, Charlotte runs into Bob, in his robe, going to the pool. CHARLOTTE Oh, hi. BOB -LRB- awkward, but glad to run into her. -RRB- Hi. Did you have a nice swim? CHARLOTTE Yeah. Did you get some sleep? BOB No, how about you? CHARLOTTE Not really. How long are you here for? BOB I'm here for the week. CHARLOTTE Oh, good. Do you want to go to a party tonight with me and some friends who live here? BOB Ok. CHARLOTTE See you later. He watches her go.", "INT. BOB'S ROOM - EVENING As Bob opens his door to his room, a FedEx package falls in his path. He opens it - large carpet swatches fall out with a note `` BOB - WHICH ONE DO YOU WANT FOR YOUR STUDY? I LIKE THE BURGUNDY, BUT WHATEVER YOU WANT. LOVE, L'' He looks at them for a second, they all look the same, and why is she sending these? He puts them down.", "INT. CHARLOTTE'S HOTEL ROOM - NIGHT The elaborate chiming doorbell rings. Charlotte opens the door to see Bob. He's wearing an orange camouflage T - shirt. She looks at his shirt, suppressing a smile. CHARLOTTE You really are having a mid - life crisis. BOB -LRB- embarrassed. -RRB- I know, it's stupid. He goes into the bathroom to change it. He comes out with it on inside out so it's just an orange T - shirt. He asks her to cut the label out for him. She goes to find some scissors. He picks up A Soul's Search : Finding Your True Calling audio - book box. BOB A Soul's Search : Finding Your True Calling - are you reading this? CHARLOTTE No. She returns with the hotel room sewing kit. BOB I read it, too. She smiles, busted, but does n't say anything as she cuts his shirt label with little hotel sewing - kit scissors. She slips on her shoes on to leave.", "INT. TOKYO BAR - NIGHT All white nightclub, lit with black lights so it seems to glow in the dark, with the booming sound of helicopters. JAPANESE GALLAGER BROTHERS walk by. Bob watches Charlotte as Charlie, in a crazy outfit, hugs her. Charlotte tries to talk to Bob over the loud music. CHARLOTTE Charlie, this is Bob. Bob -- Charlie Brown. BOB Hi, Charlie. They shake hands. CHARLOTTE His real name's Hayashi, but someone started calling him Charlie because they thought he looked like Charlie Brown. They've all got American nicknames because its easier for me to remember. they were just out in L.A. last month doing a shoot with John. that guy's Mr.Valentine, he's the art director of their magazine, I do n't even know his real name, or why I call him that. Bob looks over at some SKINNY GUY in huge glasses smiling at them. Charlie hands them some drinks. CHARLIE This is Bambi. CHARLOTTE Hi. A young SHY GUY with a shaved head smiles at her, and takes her picture. A JAPANESE KRAFTWERK COVER - BAND plays Trans Europa Express. Some people at the bar buy drinks for Bob and insist on drinking with him. Bob and Charlotte look over as Charlie gets into some problem with the BARTENDER. The Bartender gets mad and starts shooting a real - looking BB gun at him. Orange bullets fly through the air. They all rush out of there.", "EXT. BAR - NIGHT Bob and Charlotte try to get past the crowd at the entrance. A big BOUNCER stops them and is yelling fast Japanese at him. The crowd parts as the Bartender emerges shooting his BB gun, and Bob and Charlotte run for it. BB GUN CHASE - The Bartender climbs on a car, threatening them from above. Bob covers Charlotte as they duck behind the car. They make a run for it, ducking into a pachinko parlor.", "INT.PACHINKO PARLOR - NIGHT Bob and Charlotte run past the blinking machines, and gamblers, to another door to the street.", "EXT. STREET - NIGHT Bob spots a cab and they run to it, seeing Charlie now throwing bottles in the direction of the bartender. Bob and Charlotte get in the cab.", "INT. CAB - NIGHT Charlotte hits her head as they get in. Bob yells to the driver to go, but he does n't understand. Through the windshield they see the Bartender and sidekick coming with baseball bats. They hear a bang on the door and Charlie hops in. He makes sure she is ok and shouts something to the Driver, and they speed away.", "INT. KARAOKE BAR - NIGHT Charlie, in his flashy outfit, sings `` God Save the Queen'' into the Karaoke mic. He rolls his r's just like Johnny Rotten. Charlotte laughs and loves watching Charlie. They're other friends wear the different color wigs they provide at this place. There are big bottles of beer and sake. They are all pretty formal. Bambi tries to talk to Charlotte with a big grin, he can barely speak English. BAMBI How's california? CHARLOTTE -LRB- smiles. -RRB- Good. BAMBI Good. I like your swimming pool. CHARLOTTE Thanks, you guys should come back sometime. BAMBI Yes. He tries wigs on her. He puts a light pink wig on her and beams. Bob smokes and watches. BAMBI Kawaii. -LRB- Kawaii means `` cute''. -RRB- She smiles a lovable smile at Bambi. Charlie and Charlotte sings `` Brass in Pocket'' by The Pretenders -LRB- `` you're special, so special.'' -RRB- , everyone is drunk now, as they all sing along at the chorus. WOMEN keep refilling the glasses. Mr. Valentine sings a popular slow heartfelt Japanese song that everyone knows and sings along to. Charlotte and Bob look at each other, it is very foreign, but Bob likes being there with Charlotte and her friends. She flips through a big binder of songs. CHARLOTTE What do you feel like singing, Bob? BOB No way. Bob sings `` I fall to Pieces'' to Charlotte. Charlie and everyone cheers for him. Beer pitchers are replaced. Charlie starts singing `` Angle''. The little room is fxlled with smoke, Charlotte makes her way to the door to get some air.", "INT. KARAOKE BAR HALLWAY - NIGHT Taking a break from the crowded and hot Karaoke room, Charlotte sits for a break alone on a bench in the bright hallway. It is quiet with just the muffled sound of music from the Karaoke room. She's wearing a pink geisha wig. Bob sits down next to her. Charlotte lights his cigarette with some crazy Japanese light - up lighter. She leans her head back - it's getting too heavy. She looks at his hands. CHARLOTTE You bite your nails? He nods. CHARLOTTE I could cut the ones that are left for you. BOB Ok.", "INT. NOBU'S COMPOUND - NIGHT NOBU, a cool skinny stoner guy in a Hawaiian shirt, plays phsycadellic records in his seventies hippie surfer - pad. His JAPANESE GIRLFRIEND, who looks like a 60's pin - up, pours cold sake. Bob is handed a ridiculously big bong. Charlie is drunk and taking polaroids. Nobu, really stoned, talks to Bob about surfing. A SHORT GUY with thick glasses introduces himself to Charlotte, extending his hand. HANS I'm Hans. CHARLOTTE Hans? Nice to meet you. Charlie takes pictures of Charlotte and HIROMIX, a sexy Japanese girl, posing on a sheepskin run. They are being hammy for Charlie who loves it. Bob walks up and is amused watching her, she sees him and gets embarrassed. DECADENT TOKYO PARTY - NIGHT Hiromix dances -- Charlotte dances with Hans - she looks sweaty but beautiful. Bob dances with his eyes closed, really into it, in the midst of all of them. the song `` I Feel Too Young'' plays.", "INT. NOBU'S ENTRY - NIGHT Bob and Charlotte are leaving Nobu's. She's wearing Bob's jacket. CHARLIE Make sure she gets home okay? BOB I will. Bob takes Charlotte's arm carefully just as she bangs her head walking into the glass door - it makes a loud thud. BOB Are you ok? She nods. Bob looks back at Charlie who is watching - she's fine. He leads her into a waiting cab.", "EXT. TOKYO - NIGHT POV from cab - Tokyo neon blurs by. It looks beautiful.", "INT. CAB - NIGHT Charlotte looks at the neon going by. She looks over at Bob, her eyelids are too heavy for her. CHARLOTTE I do n't want to go home. BOB I know. I do n't either.", "INT. HOTEL HALL - NIGHT Bob carries a very drunk Charlotte to her room. Her purse dangling from his arm.", "INT. CHARLOTTE'S ROOM - NIGHT He puts her on her bed. He takes her shoes off for her and pulls a blanket over her. He looks at her lying on the bed. She opens her eyes to smile at him. He wants to kiss her, but he leaves.", "INT.HOTEL HALL - NIGHT He walks down the empty hall, not wanting to leave her. As he goes he looks at various trays of leftover room service in the hallway.", "INT. BOB'S ROOM - NIGHT Bob comes back to his room, tripping over the carpet samples. He makes a phone call from bed. He's still a little drunk and thinking about his night out in Tokyo. BOB Lydia? LYDIA -LRB- O.S. -RRB- Hello, darling. BOB Lydia, I went to this great house tonight, this guy designed and built, you would have loved it. LYDIA -LRB- O.S. -RRB- Oh, yeah? I wish I had seen it. BOB He was this fashion guy, and there were all these Japanese fashion people - it's a whole other world, and I was talking to these Japanese surfers. He was playing all this great music - I have to find out what it was. LYDIA -LRB- O.S. -RRB- That sounds great -- can you hold on. -LRB- talks to daughter. -RRB- What Zoe? ZOE -LRB- O.S. -RRB- I do n't want it. LYDIA -LRB- O.S. -RRB- Well, you have to have something for breakfast. Do you want cereal? ZOE -LRB- O.S. -RRB- No. LYDIA -LRB- O.S. -RRB- Just trying to get her to eat something. I'm glad you're having fun. BOB Yeah, its really different here. LYDIA -LRB- O.S. -RRB- Well, that's good, I have to get the kids off for school. Can I call you in a little while? BOB It's four in the morning. I'm going to go to sleep. LYDIA -LRB- O.S. -RRB- Ok, well. I love you. BOB I love you, too, good - night, or good - morning. LYDIA -LRB- O.S. -RRB- Good - night. He hangs up.", "INT. CHARLOTTE'S ROOM - MORNING Charlotte can -' t get out of bed. She looks at the clock - it's 10 a.m.. She picks up the phone.", "INT. BOB'S ROOM - MORNING Bob -LRB- still in camouflage T - shirt from last night -RRB- answers the phone by his bed. BOB -LRB- grumbly. -RRB- Hello? CHARLOTTE -LRB- O.S. -RRB- It's Charlotte. BOB Charlotte, who? CHARLOTTE -LRB- O.S. -RRB- Thanks for getting me back in one piece. C.U. Charlotte's feet on her bed BOB -LRB- O.S. -RRB- Of course. CHARLOTTE Do you want to have some breakfast? C.U. her hand wraps the phone cord around her fingers. BOB -LRB- O.S. -RRB- Yeah, I'm going to take a shower and I'll meet you downstairs. CHARLOTTE OK, see you downstairs.", "INT. HOTEL RESTAURANT - DAY They sit in the bright light. She squints and drinks a Bloody Mary. Bob is distant. She looks across at two middle - aged MID - WESTERN WOMEN talking about plastic surgery, you ca n't hear them, but can tell as they gesture and one pulls her eye lids up. Charlotte looks at another table by the elaborate buffet and sees the redhead Singer having breakfast with the rest of Sausalito. CHARLOTTE -LRB- trying to make it light. -RRB- Hey look, it's Sausalito. BOB I see them every morning. They do n't know what to say. Somehow it's too intimate having breakfast. She eats her breakfast aware of her every movement. C.U. - her POV of soft scrambled eggs.", "EXT. GOLF COURSE - DAY In the distance, Bob swings on a perfect golf course.", "INT. CHARLOTTE'S HOTEL ROOM - NIGHT Charlotte lies in bed awake. The clock says its 4 a.m. Finally she gives up on trying to sleep, and turns the light on. In John's old T - shirt and Ugg boots, she goes to the couch, looks at some strange pastry with an elaborate presentation left by the hotel. She picks up a magazine, but she's already looked at it a few times before. She hears something and goes over to the door. On her way, she passes her red T. Anthony suitcase overflowing with stuff that looks like a bomb went off in it. A HOTEL MESSAGE envelope is slipped under the door. She opens it to see a typed note from the operator : `` From : Mr. Harris. Message : Are you awake?'' She smiles like she's gotten a valentine.", "INT. BOB'S ROOM - NIGHT Bob opens the door, Charlotte's standing there trying to look casual, she's happy to see him -LRB- she's put some pants on and flip flops instead of her dumb looking Ugg boots -RRB-. She knocks into a low table, bumping her knee as she comes in. Bob pours some cold sake, smoothly. Bob and Charlotte watch La Dolce Vita with Japanese subtitles on the TV. BOB Hans was very attentive to you. CHARLOTTE I think he kind of liked me. Is that so hard to imagine? BOB No, its easy. CHARLOTTE How'd a Japanese guy get a name like Hans? BOB I do n't know. Anita Ekberg holds the kitten on T.V. Charlotte gets up to pour more sake. She picks up and looks at a prescription bottle on his night stand and reads the label : Lipitor. CHARLOTTE Do you remember when we met at the bar? You were wearing a tuxedo. BOB But the first time I saw you was in the elevator. CHARLOTTE Really? BOB Yeah, you do n't remember? She shrugs. CHARLOTTE Did I scowl at you? BOB No, you smiled. CHARLOTTE I do n't remember. BOB I know, I kind of blend in here. PAN the view of Tokyo at night as we hear their conversation : CHARLOTTE -LRB- O.C. -RRB- Why do they switch the r's and l's here? BOB -LRB- O.C. -RRB- I do n't know. My fax said `` have a good fright''. CHARLOTTE -LRB- O.C. -RRB- Let's never come here again, because it would never be as much fun. BOB -LRB- O.C. -RRB- Ok, whatever you want. CHARLOTTE -LRB- O.C. -RRB- Did you see Hiromix last night dancing with Bambi? BOB -LRB- O.C. -RRB- No, I was looking at you. CHARLOTTE -LRB- O.C. -RRB- Oh. Well. they were dancing on the couch with that weird English guy who kept talking about hanging out with the Sex Pistols on Kings Road. BOB -LRB- O.C. -RRB- I got a fax today from your friend Hiromix. CHARLOTTE -LRB- O.C. -RRB- Oh, for her show? BOB -LRB- O.C. -RRB- No, for a candlelight dinner, yes, for her show. CHARLOTTE -LRB- O.C. -RRB- Oh. BOB -LRB- O.C. -RRB- You're possessive. CHARLOTTE -LRB- O.S. -RRB- I know. Charlotte and Bob lie a few feet apart on the bed. CHARLOTTE -LRB- O.S. -RRB- I'm stuck. Does it get easier. BOB No, yes, it does. CHARLOTTE Yeah? But look at you. BOB Thanks. It does, the more you know who you are. you do n't care about things the same way. CHARLOTTE I just do n't know what I'm supposed to be. I thought maybe I wanted to be a writer. but I hate what I write, and I tried taking pictures, but John's so good at that, and mine are so mediocre. and every girl goes through a photography phase, like horses, you know dumb pictures of your feet. BOB You'll figure it out. I'm not worried about you. Keep writing. CHARLOTTE But, I'm mean. BOB That's ok. CHARLOTTE And marriage, does that get easier? BOB It's hard. We started going to a marriage counselor. CHARLOTTE Did that help? Did you learn anything? BOB We established that we have no communication. CHARLOTTE Oh. BOB We used to have fun, she used to like to go to places with me for my movies and we would laugh at all the weirdos, but now she's tired of it all. She never wants to leave the kids, she does n't need me, and they do n't need me, I feel like I'm in the way. It gets complicated when you have kids. that changes everything. CHARLOTTE That's too scary. BOB When they're born its like Vietnam. It's terrifying. CHARLOTTE -LRB- getting tired. -RRB- No one ever tells you that. BOB But, it's great being with them, after they can talk, and can do things with you. CHARLOTTE That's nice. My parents were always traveling, they were n't around so much. BOB Where'd you grow up? CHARLOTTE In D.C., my dad was the Ambassador to France in the eighties, so we went to school in Paris for a few years. but we mostly lived in D.C., and they were never around. and then I moved to Los Angeles when John and I got married. it's so different there. They are starting to get tired. BOB I know. CHARLOTTE John thinks I'm so snotty. BOB You are. CHARLOTTE I know, but that's what you like about me. She looks over at him. He does like her. CHARLOTTE Why do you have to be with your opposite, why cant similar people be together? BOB Because that would be too easy. They fall asleep dressed, on top of the sheets, on opposite sides of the bed.", "EXT.STREET BASKETBALL COURT - DAY Full of life, Bob plays basketball with some local guys. All over the court, and towering over the other players, Bob dominates the game.", "INT. BOB'S HOTEL ROOM - DAY Bob looks at himself in the bathroom mirror, he feels his stubble and sees that it's turning grey. He opens the hotel shaving kit. He squirts shaving cream from the child - size can. Even the razor is small. He covers his face with shaving cream when the phone rings. BOB Hello? RECEPTION Mr. Harris, we have fax for you! BOB Ok. RECEPTION Do you want I send it to your room? BOB -LRB- sarcastic. -RRB- Great. RECEPTION Thank you, Mr. Harris. He hangs up and shaves.", "INT. HOTEL GROUND FLOOR LOBBY - DAY Bob gets out of the elevator - the Suntory group is waiting for him. He ducks behind a wall and sneaks out a side entrance of the hotel.", "EXT. PARK HYATT - DAY Bob comes out of the hotel into the sunlight. The street is crowded with MOTORCYCLE GANGS going by, one waves a big flag. Bob watches the strange scene in the street for a moment, and then makes his way past.", "EXT. DAKINYAMA - DAY He walks down a little street in a more old - fashioned neighborhood. He's wearing new techno sneakers. He makes a call on his cell phone. BOB Miss Kawasaki? It's Bob Harris. I'm not going to be able to do that interview today., yeah. ok. Yes, I'd love to stay to be on his talk show. sure. ok. bye. A light rain starts as he looks at a fax from Charlotte with a map she's drawn and tries to figure out where he is - there are no street signs.", "EXT/INT. ICHICAN SUSHI - DAY Bob finally finds the small restaurant. The automatic door opens for him, and Charlotte, at the bar with the cute chubby SUSHI CHEF, turns to Bob happy to see him. He is disheveled from the rain and adorable. He sits down next to Charlotte, she pours him a beer and orders for him. CHARLOTTE You made it. BOB They really have to work on that street name thing. A perky recording voice says `` Kornichiwa!'' from his pocket. CHARLOTTE What's that? He pulls a pink Hello Kitty watch from his pocket. BOB It's for my daughter. CHARLOTTE How old is she? BOB Four. CHARLOTTE Oh, she'll love it. The Sushi Chef gives him perfect little pieces of sushi on a banana leaf. Charlotte takes a bite of a piece - but it wo n't break, so she has to stuff the whole thing in her mouth, embarrassed. Bob makes fun of her gracelessness. BOB Nice one. CHARLOTTE -LRB- mouth full. -RRB- Fuck off. They have lunch, he makes her laugh. He looks down at her feet in flip flops, her toe is purple. BOB What happened to your toe? CHARLOTTE I do n't know, I think maybe I broke it? I knocked into something the other day. She slips her shoe off and shows it to him - her middle toe is black and blue. BOB That does n't look good. She enjoys the sympathy. CHARLOTTE It's bad is n't it? BOB We should get you to the doctor. CHARLOTTE You think so? BOB Yeah, look at that thing. She smiles at him.", "EXT. DAIKANYAMA STREET - DAY Bob tries to get a taxi, finally one stops and they get in. He tries to explain `` hospital'', he does pantomime, draws a first aid cross, but the DRIVER does n't understand. Charlotte is enjoying Bob's effort. Finally he finds a Park Hyatt matchbook and calls the hotel number. BOB How do you say `` hospital'' in Japanese? RECEPTION -LRB- O.S. -RRB- Excuse me? BOB Hospital? RECEPTION -LRB- O.S. -RRB- One moment, please. She transfers call, it rings. CONCIERGE -LRB- O.S. -RRB- Concierge desk, may I help you? BOB Yes, can you tell me how to say `` hospital'' in Japanese? CONCIERGE `` Hospital'' in Japanese? Hosupitari. BOB Hosupitari? He tells the Driver who looks at him funny. Bob says it again - faster, with a Japanese accent. The driver nods excitedly and drives off.", "INT.HOSPITAL LOBBY - DAY Bob and Charlotte walk in, looking around at where to go. Bob talks to a woman at the desk to explain what they need.", "INT. HOSPITAL 2ND FLOOR - DAY Bob takes a seat in waiting area as Charlotte goes into a little room with a number on it. Bob waits next to a 100 year old lady.", "INT. HOSPITAL - DAY Charlotte stands alone barefoot on a little box, wearing a lead apron, as a MAN and ASSISTANT X - ray different angles of her foot.", "INT. HOSPITAL GIFT SHOP - DAY Bob looks around at all the Japanese gift stuff, and buys a little stuffed bunny. His phone rings as he's paying for it. BOB Hello? ELAINE -LRB- O.S. -RRB- Bob, it's me. BOB Oh, hi, Elaine. ELAINE -LRB- O.S. -RRB- So, we got you on an earlier flight, but I really think you should think about staying for that talk show. BOB Ok. ELAINE -LRB- O.S. -RRB- You'll do it? BOB Yeah, I'll stay.", "INT. HOSPITAL ROOM - DAY Charlotte's foot X - rays are displayed on a big light box. An older DOCTOR talks about them in Japanese to his younger ASSISTANT as he wraps Charlotte's toes together. She does n't know what they're talking about.", "INT. HOSPITAL WAITING ROOM - DAY Charlotte comes out where Bob waits with the little stuffed bunny. CHARLOTTE Is that for me?", "EXT. PARK HYATT - LATE AFTERNOON Bob and Charlotte arrive back at the massive hotel, they stroll in casually, she is carrying the stuffed rabbit in her arm.", "INT. HOTEL SPA BATH - EVENING Bob reclines in the big Japanese wooden tub, steam rises as he is turning red. His phone rings. He dries his hands quickly to reach it before it stops ringing. BOB Hello? LYDIA -LRB- O.S. -RRB- Bob? BOB Hi, Lydia. LYDIA -LRB- O.S. -RRB- Is this a bad time? BOB Uh, no. LYDIA -LRB- O.S. -RRB- -LRB- O.S. -RRB- It's really hard to reach you. Did you get the carpet samples? I like the burgundy. BOB Ok, whatever you think. I'm lost. LYDIA -LRB- O.S. -RRB- It's just carpet. BOB That's not what I'm talking about. LYDIA -LRB- O.S. -RRB- What are you talking about? BOB I do n't know. LYDIA -LRB- O.S. -RRB- Is there anything I can do? BOB I do n't know. I want to be more healthy. I want to eat better. LYDIA -LRB- O.S. -RRB- What? BOB You know, eat healthier. LYDIA -LRB- O.S. -RRB- Alright? BOB Not all that pasta. LYDIA -LRB- O.S. -RRB- Fine. BOB Like Japanese food. LYDIA -LRB- O.S. -RRB- -LRB- sarcastic. -RRB- Why do n't you just stay there, and you can have it everyday. BOB Oh, come on. LYDIA -LRB- O.S. -RRB- I have to go, Adam's tormenting Zoe, I'll talk to you later. Are you going to be Ok? BOB Yeah, I'll be fine. Bye.", "INT. CAR - NIGHT Bob rides in the back of a cab. CHARLOTTE -LRB- V.O. -RRB- -LRB- voice - mail message. -RRB- Hi Bob, it's Charlotte. how are you doing today? I'm going to meet Charlie and those guys at this place called Orange around ten. come meet us if you get this.", "EXT. OFFICE BUILDING - NIGHT Bob's cab pulls up at an empty office building.", "INT. OFFICE BUILDING - NIGHT Bob looks at a fax from Charlotte with a map, wondering if he's in the right place. It's quiet and looks like a generic office building. He goes in the little metal elevator, and the door opens on the 8th floor onto a little nightclub you would have never thought was there.", "INT. ORANGE NIGHTCLUB - NIGHT Lights strobe and Peaches' seedy `` Fuck the Pain Away'' booms through the speakers. Tan JAPANESE STRIPPERS with platinum hair dance and hang from a pole on a little platform. Bob sits alone on a brown ultra suede couch feeling out of place and empty. He looks over at a table of young AMERICAN INVESTMENT BROKERS. He wishes he was n't there, but tries to seem comfortable. Charlotte shows up with Charlie and the other guys. She sits down next to him, and gives him an ` are you going to kill me?' look. CHARLOTTE How long have you been here? He looks at her like it's been forever. She smiles for forgiveness. They look over and see a WEIRD GUY in the corner getting a lap dance, they look at each other, sharing the joke of the place, but both uncomfortable about the sexuality of it. Through a beaded curtain, Charlie and Bambi get lap dances in a dark corner of pillows. Charlotte looks at Bob. CHARLOTTE C'mon, let's go.", "EXT. TOKYO STREETS - NIGHT Bob and Charlotte go up to a cab, but the driver refuses them. They do n't know why, but just make their way down an empty side street. Little plastic cherry blossom decorations hang above them. BOB Where's your husband? CHARLOTTE -LRB- like she's said it a million times. -RRB- Working. BOB Do you ever see him? CHARLOTTE -LRB- sorta. -RRB- Yeah. BOB Do you know where we are? CHARLOTTE No. She puts a coin in a vending machine and takes a cold sake `` one - cup''. A tiny brad Pitt head smiles at her next to an iced coffee. CHARLOTTE Is n't it weird there are no street names in Tokyo. you'd think a city like this would have street names. you need a map to get anywhere. look, there are no signs. They keep walking, small figures on a little empty street.", "INT. PARK HYATT LOBBY - NIGHT As they make their way back, they pass a lounge off the lobby. It's late, it's pretty empty, a housekeeper vacuums and just a SLEEPING MAN sits in the back of the lounge, and a snuggled up romantic JAPANESE COUPLE sit close to : Kelly, the blonde actress, singing to them. She stands facing them with a karaoke mic singing `` Nobody Does It Better'' with all her heart. Bob and Charlotte look at each other and keep walking -LRB- trying to be invisible -RRB-.", "INT.CHARLOTTE'S HOTEL ROOM - MORNING Charlotte lies in bed. She picks up a photo next to the bed as she dials the phone. - The picture is of her and John on their honeymoon. The phone answers - it's a weird Japanese recording. CHARLOTTE Um. Hi, John, if this is your phone? I'm not sure. I'm going to go to Kyoto for the day. I'11 try you when I get back. Hope it's going good. I love you, bye.", "INT. TRAIN - DAY Charlotte watches the Japanese countryside go by out her window.", "EXT. KYOTO - DAY Charlotte walks through a beautiful garden. She's a small figure in the landscape. She approaches a temple where she stops to watch a wedding procession. A young bride and groom in traditional kimono walk under a parasol with their family. Charlotte looks as - the nervous, young bride clutches her mother's hand. The young groom walks along with them. Charlotte is moved by the whole scene, the beauty of the temple and the wedding party. Her eyes well up. She walks up a narrow path, surrounded by red maple leaves. At the top of a little hill, she comes up to a shrine. At its entrance she sees a tree covered in little white pieces of paper tied to its branches. She sees Japanese people writing on the paper and tying them to the tree. Charlotte writes her wish on a paper and ties it to a branch.", "INT. T.V. STUDIO - DAY Exciting music plays as the talk/game show starts. Bob, in an elegant suit, goes out to meet the HOST. TV HOST -LRB- in Japanese. -RRB- We hear you're quite a golfer. A TRANSLATOR translates. BOB -LRB- nodding. -RRB- I enjoy the sport. The Translator translates - four sentences longer and with added enthusiasm. After a few questions the Host excitedly announces something to the AUDIENCE in Japanese. They scream, the lights flash, Bob has no idea what's going on. A cloud of smoke reveals the IRON CHEF, with feathered hair, wearing an 18th century waistcoat. A large red chef hat is placed on Bob's head. TRANSLATOR They now have the competition for you with the Iron Chef. Bob looks around as a counter is pulled up to him and now Bob and the Iron Chef are at dueling counters. The Host barks instructions in Japanese, an apron with a stuffed animal lobster on it is tied around Bob, the crowd cheers - there's no way out.", "INT. CAR - NIGHT Bob rides in the back of the presidential, looking out the window at the city. He pulls a polaroid out of his pocket and looks at it. It's Charlotte, peering over her shoulder with a little smile, from their sake - drenched night at Nobu's compound.", "INT. PARK HYATT BAR - NIGHT Melodramatic'70s Japanese music plays. Bob sits alone, hating himself, at the bar. The redheaded Jazz Singer takes a break, and a seat next to him.", "INT. BOB'S ROOM - MORNING In the harsh - morning light, Bob wakes up in his bed. He hears the Jazz Singer singing in the shower `` Midnight at the Oasis''. Her red mane of hair passes frame as she ushers in room service. She seems to have taken over the whole room. He wants it all to go away. She walks off to the bathroom and there's a knock at the door. Bob rushes to get it before she can. He opens the door a crack, Charlotte looking sweet, is standing there. Her hair is back in a pony - tail. Bob's just wearing a towel around his waist, and his hair is sticking up. CHARLOTTE Rough night? He's not in the mood, he looks at her like he already hates himself, does n't need more help. CHARLOTTE I'm going to Daikanyama, do you want to come walk around? BOB Yes, but no, I ca n't right now. The singer starts singing again in the background. Charlotte gives Bob a look. CHARLOTTE Oh, I guess you're busy, huh. BOB I do n't want to be. He watches Charlotte walk away down the beige hall.", "EXT. TOKYO STREETS - DAY Bob is walking down the crowded street looking for Charlotte, when his cell phone rings. BOB Hello? LYDIA -LRB- O.S. -RRB- Hello, Bob, it's me. BOB -LRB- ca n't hear. -RRB- Hello? LYDIA -LRB- O.S. -RRB- It's Lydia, your wife. BOB I could n't hear you. How are you? LYDIA -LRB- sighs. -RRB- Fine. Is it going ok? BOB It's ok. LYDIA -LRB- O.S. -RRB- Do you want to -. -LRB- garbled. -RRB- BOB What? LYDIA -LRB- O.S. -RRB- Do you want to talk to Zoe? BOB Yeah. LYDIA -LRB- O.S. -RRB- -LRB- calls in background. -RRB- Zoe, come say hello to your father. A little girl's voice shouts `` No!'' in the background. LYDIA -LRB- O.S. -RRB- I guess she's busy. BOB That's ok. LYDIA -LRB- O.S. -RRB- When are you coming home? BOB Tomorrow. LYDIA -LRB- O.S. -RRB- Her ballet recital is Saturday, do n't forget. BOB Ok. In the background the daughter calls for her Mommy over and over and a dog starts barking. LYDIA -LRB- O.S. -RRB- Ok, well, travel safely. See you soon. BOB Bye.", "EXT. ICHICAN SUSHI RESTAURANT - DAY Charlotte, with sunglasses on, leans against the wall as Bob approaches. CHARLOTTE You ca n't get sushi anywhere in Japan after 2 o'clock. Did you know that? BOB No, we'll find something around here. She goes with him.", "INT. SHABU SHABU RESTAURANT - DAY Bob and Charlotte are seated at a big booth in a corny Shabu Shabu restaurant. CHARLOTTE The Jazz singer? The red - head? Bob looks at her like - do n't make it worse. CHARLOTTE Well, I guess she's more around your age. You guys could talk about things in common, like growing up in the fifties. BOB You're a brat, was n't there anyone else around to lavish you with attention? She scowls at him. The waitress brings them drinks - she pours beer slowly, and turns on a pot on the table to cook their food. Charlotte looks at the menu - it is filled with photos of different trays of meat. The waitress does n't speak English. CHARLOTTE I ca n't tell the difference? They have trouble ordering, but point to a picture on the menu. BOB We'll have two of these. He makes some small talk, she is bugged. BOB What do you want to drink? CHARLOTTE A coke. He orders the drinks. BOB So, where'd you go today. CHARLOTTE Around. `` This is the End'' by The Doors starts playing on the stereo. The waitress brings two huge trays of sliced raw beef. Steam rises from the pot on the table. The song ends, and another Doors song comes on. CHARLOTTE They're not going to play the whole album, are they? They look across the table, over the steam and meat, at each other - the whole thing is awful.", "INT.CHARLOTTE'S HOTEL ROOM - NIGHT In the darkness, under covers, Charlotte is woken up by a loud fire alarm.", "EXT. PARK HYATT - NIGHT The fire alarm booms as the hotel guests and staff hurry out of the hotel. Amidst the crowd of Hotel guests in their pajamas, Charlotte finds Bob - he's wearing a kimono and slippers. She's in boxer shorts and an undershirt and slippers. BOB I'm sorry. CHARLOTTE That lunch was the worst, huh. He laughs. She looks down at his feet stuffed into the little hotel slippers. CHARLOTTE When are you leaving? BOB Tomorrow. CHARLOTTE -LRB- friendly. -RRB- I'm going to miss you. BOB That's what you said the other night. CHARLOTTE Well, I mean it more now.", "INT. PARK HYATT BAR - NIGHT and Charlotte, still in their pajamas, sit at their usual spot at the bar, with the bartender, drinking cold sake. She lights two cigarettes and passes one to him. A NEW JAZZ BAND is now playing. The SINGER is full of enthusiasm as they start their stint at the Park Hyatt. NEW SINGER Good Evening. I'm Carl West, and we're thrilled to be joining you this week, here at the NY bar in Shinjuku. He sings `` Where or When'' with all his heart. Now, old - timers there, Bob and Charlotte look at each other and chuckle. SINGER Jt seems we stood and talked like this before, we looked at each other in the same way thenr but I cant remember where or when. Bob and Charlotte sit there together. BOB I do n't want to go back tomorrow. CHARLOTTE I know. But, it does n't last, you have to go back sometime. BOB Why ca n't it last? CHARLOTTE I do n't know, it just does n't, reality changes things. we ca n't stay here forever, unless maybe we started a Jazz band. -LRB- alt Charlotte dialog : I do n't know it just does n't, reality changes things. and we ca n't stay here forever -RRB- He looks over at her. The singer continues Where or When, as they sit there together, the view sparkling. SINGER -LRB- O.C. -RRB- Somethings that happen for the first time, seem to be happening again and so it seems we have met before, and laughed before, and loved before, but who knows where or when.", "INT. ELEVATOR - NIGHT Bob and Charlotte, drunk in the elevator. CHARLOTTE 54? He nods, she pushes 54 for him and 56 for herself. They look at each other across the empty elevator, both leaning against the walls. The elevator stops at 54, he leans in to kiss her good - night. They kiss like you would on the cheek - but it's closer to their mouths. The door shuts - he missed his floor. The elevator continues up, and stops on her floor. They kiss good - night again and she gets out before the door closes. He watches the door close on her as she makes her way down the long beige hall.", "INT. CHARLOTTE'S ROOM - DAY A fax comes through the machine in the empty room. IT'S A NOTE AND CUTE DRAWING FROM JOHN - SEE YOU ON SATURDAY, I MISS YOU.''", "INT. PARK HYATT LOBBY LOUNGE - DAY A sexy EXECUTIVE WOMAN asks Bob for a light. He looks at her great legs as he lights her cigarette. He looks around, keeping an eye out for Charlotte. The group of commercial people arrive to see him off. He excuses himself for a moment and goes to a phone on a little table in the corner. Bob picks up the house phone. RECEPTION -LRB- O.S. -RRB- Hello? Yes? BOB Hello, can I have room 5601. RECEPTION One moment. Traditional Japanese music plays on hold. RECEPTION I will connect you. Bob gets the room voice - mail. BOB Uh. Hi, Charlotte. it's me, Bob. ok, I guess you're not there. wanted to say good - bye. He hangs up, feeling lame.", "INT. HOTEL RECEPTION -DAY Bob with his bags tries to call again. The commercial people and hotel staff crowd around to help him, asking about his stay. BOB Charlotte? CHARLOTTE Hi, Bob. BOB I'm just leaving. do you have my jacket? CHARLOTTE Uh, yeah. I'll bring it down. BOB That'd be great. CHARLOTT E Ok, see you in a second. A member of the hotel staff brings him an envelope on a little silver tray. Miss Kawasaki gives him some gifts from their company in traditional Japanese wrapping, he does n't know what to do with them and has to carry them. The Executive Woman from the bar walks up to him. He hangs up the phone. BOB 0hr hi. EXEC WOMAN You're leaving? She looks at him like, we could have had some fun. BOB Yeah, yeah, I'm going. He sees Charlotte come out of the elevator. BOB I have to go, thanks, bye. He rushes over to Charlotte. She looks at his bag. CHARLOTTE Just saying good - bye to everyone before you leave? BOB Yes, no. She hands him his jacket. BOB Thanks. She waits for him to say something more. He wants to tell her he loves her, that she should come with him. CHARLOTTE That's it? The concierge tells him his car is here. CHARLOTTE You're leaving right now? BOB Yes. CHARLOTTE Well. have a good flight. BOB Thanks. CHARLOTTE -LRB- hurt. -RRB- Ok, bye. She walks away. A hotel manager asks Bob about his luggage, another asks if he had a pleasant stay. Charlotte gets in the elevator to go out, the doors close on her back.", "EXT. PARK HYATT - DAY It's bright outside the main entrance. A presidential pulls up and the automatic door opens. Bob squints as the Bellboy in white gloves slowly loads his luggage into the trunk.", "INT. CAR - DAY In the backseat, Bob leans back on the little doily. The car pulls away. Around the corner, he looks down a crowded alley and sees Charlotte's blonde hair. BOB Can you pull over a second? The DRIVER, wearing white cloth gloves, pulls the car over slowly. Bob tries to open the door'99 it wo n't open, he has to wait for the automatic doors to open for him -LRB- slowly -RRB-.", "EXT. TOKYO STREETS - DAY Bob gets out and rushes down the street to where he saw Charlotte. The street is crowded with JAPANESE PEOPLE, and different colored umbrellas, -LRB- it's sunny out with a light rain -RRB-. Music blasts from speakers on the street, and there is some promo going on with GIRLS handing out little cologne samples. Bob looks around for her, but only sees dark hair, umbrellas, and super tan JAPANESE KIDS. In the distance an umbrella moves to reveal Charlotte. BOB CHARLOTTE! But she ca n't hear him over the loudspeaker. He rushes to her. C.U. she turns and we see she is crying. The music swells. He embraces her, holding her close to him in the crowd. BOB Why are you crying? CHARLOTTE -LRB- sincere. -RRB- I'll miss you. He kisses her, hugs her good - bye. BOB I know, I'm going to miss you, too. He holds her close. Charlotte watches Bob as he reaches his car, he turns and looks at her. She smiles at him, and is lost in the crowd. Bob gets into his car. Charlotte walks with the crowd as they go on their way.", "INT. CAR - DAY Back in the Presidential, alone, Bob leans against the little doily. They drive off. He looks out the window, Bob's happy he's going home, he's happy he came to Tokyo. Bob's P.O.V. - Tokyo goes past his window. THE END" ]

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[ "INT. ST. ANNE'S ACADEMY - AKRON, OHIO - CLASSROOM We are in a parochial school classroom, in the late Sixties. The children all wear uniforms and sit at little desks. SISTER IMMACULATA stands at the front of the room ; she is a middle - aged nun, very severe. The children are all terrified of her. SISTER IMMACULATA Who can name all the Apostles? Yes? ANGLE ON CHRISTINE CARTER A thirteen - year - old girl sitting at a desk. She raises her hand. SISTER IMMACULATA Christine? CHRISTINE Sister, may I be excused? SISTER IMMACULATA Christine. CHRISTINE It's an emergency. Real bad. Sister Immaculata nods, pursing her lips. Christine stands and heads for the door.", "INT. GIRLS ROOM Christine is now in the deserted St. Anne's girls room. She is standing on tiptoes, looking in the mirror. She has taken her hair out of its neat barrettes ; she is combing it out. She applies lipstick. Christine reaches into her schoolbag ; she pulls out a stack of glittery bracelets and slips them on. She unbuttons the top few buttons of her stiff white blouse. She sprays herself with dime store cologne.", "EXT. HALLWAY Christine opens the girls' room door ; she looks both ways. No one is around ; she saunters down the hall. ANGLE ON A DOOR MARKED BROOM CLOSET Christine opens this door. She looks into the closet. There is a very nervous thirteen - year - old BOY waiting for her inside. CHRISTINE Hi, Jimmy. Christine slips inside the closet and closes the door behind her. ANGLE ON SISTER IMMACULATA Striding down the hall, with a bloodthirsty look in her eye, and a nasty - looking wooden ruler in her hand. She flings open the broom closet door, ANGLE ON CHRISTINE AND JIMMY in the broom closet. Jimmy's face is covered with lipstick. Christine's hair is awry. The couple has clearly been making out. SISTER IMMACULATA -LRB- outraged. -RRB- Miss Christine Carter! Again! Do n't you know what happens to girls like you? Do n't you know what they become?", "INT. CHRISTY'S APARTMENT - ANGLE ON A LARGE, TATTERED POSTER-NIGHT (TODAY) Taped over a crack on a wall. The poster shows a glittering CHRISTY VAN CARTIER : singing star of a fifth - rate Vegas lounge. Christy wears tight spangles and a major wig on the poster. She has clearly lived up, or down, to all of Sister Immaculata's expectations. The CAMERA PANS through the dark bedroom in which the poster hangs ; a neon sign flashes outside the window, casting a red and blue haze over the premises. A dressing room table is cluttered with dozens of bottles of nail polish and makeup, and garish clothing and flashy jewelry are scattered everywhere. We hear the movement of BED SPRINGS as someone sits up in the dark. CHRISTY'S VOICE Come on, Vince - hold me a minute. VINCE'S VOICE I'd love to. babe - but I've got to go. It was great. Like usual. CHRISTY'S VOICE It was twenty minutes. Like usual. VINCE'S VOICE The best. VINCE LAROCCA stands at the mirror, adjusting his clothing and checking his hair. Vince is a powerful, charismatic man who rules an organized crime empire with personal magnetism and threat. Vince's hold over Christy is obvious, if unfortunate ; he can seem expansive and generous one minute, ruthless and dangerous the next. VINCE -LRB- half to Christy, half to the mirror. -RRB- You are something else. Christy turns on a lamp and lights a cigarette. CHRISTY Come on - stay. Just a little. We can talk, I'll get a pizza. Pizza in bed, we'll have fun. And you still have n't told me what happened. What did she say? VINCE What did who say? CHRISTY Who? The other woman. Your wife. Vince turns to face Christy, turning on the charm. VINCE You are so damn sexy. CHRISTY Vince. VINCE How did I get so lucky? What is it now, five years we've been together? Who do I thank? CHRISTY -LRB- not buying it. -RRB- Today was the deadline, Vince. Vince sits on the bed. He takes Christy's hand, and kisses it. VINCE I want us to be together. Like people. Honest, decent people. In the eyes of God. Babe, today. I went to confession. CHRISTY You did what? VINCE For the first time in I do n't know how long. I wanted everything done right. Open and above board. I told Father Antonelli I was in love. I told him it was a special love, for all the ages. CHRISTY -LRB- starting to fall for it. -RRB- You said that? And what did he say? Did he say you could leave her? Did he say we'd be happy? VINCE -LRB- looking deep into her eyes. -RRB- He said that if I got a divorce I'd burn in Hell. For all eternity. Vince kisses Christy's hands again and drops turns away and starts putting on his shoes. CHRISTY What? -LRB- outraged. -RRB- VINCE You want me to go against a priest? Get excommunicated? You think I'm nuts? CHRISTY You bastard! VINCE -LRB- trying to calm her. -RRB- We can still see each other. Just like always. It's a different kind of sin. Smaller. CHRISTY You pig! Vince backs off, and starts searching for his jacket. VINCE Babe, it's not me! I love you! It's God! CHRISTY You lying sleazeball! The best years of my life! What am I, garbage? Am I lint? Vince ducks as Christy throws an ashtray at him, and it smashes against the wall. VINCE You're upset. I understand. I should go. I hate to. A CLOCK - RADIO hits the wall beside Vince's head. CHRISTY Get out of here! And never come back! A LAMP hits the wall, as Vince dodges it. He makes a phone gesture with his hand. VINCE I'll call. Vince kisses two fingers, and blows the kiss to Christy. He leaves. Christy is left standing on the bed, holding a particularly garish stuffed animal she was about to hurl. With Vince gone she slumps to the bed, cradling the stuffed animal. She is caught between tears and rage.", "EXT. LAS VEGAS - NIGHT ANGLE on various neon Vegas landmarks - the Golden Nugget, Caesar's Palace, Bally's, etc.. Scrunched in between two larger hotels and casinos is the MOONLIGHT HOTEL AND CASINO. The Moonlight is n't all that small, it's just seen better days.", "INT. LOUNGE - NIGHT A spotlight hits a solitary figure on a small stage. The man is caped and dramatic, but not especially talented ; an Elvis impersonator who's just a shade off in voice, looks and style. ELVIS Good evening, ladies and gentlemen. Are you lonesome tonight? Welcome to the Moonlight Hotel and Casino's incredible Platinum Oldies Spectacular. Backstage, there's still a look of resolve in Christy's eye as she waits to go on with MICHELLE and TINA, her back - up singers. MICHELLE But you ca n't quit. What'll happen to us? -LRB- to Tina. -RRB- Tell her she ca n't quit. TINA I told her. She stuck pantyhose in my mouth. Onstage, Elvis glances into the wings to be sure the Ronelles are ready. ELVIS Please welcome our own girl group extraordinaire, our beehives of beauty - the fabulous Ronelles! Elvis disappears. The spotlight hits Christy, who wears a high beehive wig and a sequinned, early Supremes - style gown. Michelle and Tina wear matching gowns and wigs. The band begins a doo - wop vamp. CHRISTY Oh, girls. RONELLES Yes, Betty? CHRISTY This prom is a real drag. RONELLES Oh - huh. CHRISTY Oh my! -LRB- gasping. -RRB- RONELLES What is it, Betty? CHRISTY Look at that. Get a gander. RONELLES Oh my! -LRB- sighing. -RRB- CHRISTY He's so dreamy. He's like. a Greek god. He's the cutest guy here. He's boss. He's fab. He's. RONELLES Yes, Betty? CHRISTY -LRB- singing. -RRB- HE'S SO FINE. RONELLES D00 - LANG, DOO - LANG, D00 - LANG. CHRISTY WISH HE WAS MINE. THAT HANDSOME BOY OVER THERE, THE ONE WITH THE WAVY HAIR. As they sing, their moves and gestures are carefully choreographed in vintage girl group style. A lot of talent and hard work has clearly gone into the number. While Christy does her best, her singing voice is not on a par with those of the other Ronelles. The lounge itself is practically empty, except for a few drunken Shriners and a couple of college kids. POLICE LIEUTENANT EDDIE MULCAHY sits at a ringside table with his eyes locked on Christy. An easygoing charmer, Eddie gives her a wink, but she responds with an up - yours look and a turn to the other half of the room as the song continues.", "INT. DRESSING ROOM - LATER A small, cramped room with cracked plaster walls and a sputtering fan for ventilation. Christy has her own dressing table and mirror, and the Ronelles share a table a few feet away. Clothing and costumes hang on nails or are draped over chairs as the girls change into street wear. CHRISTY Screw this dump. It's a roach motel with sequins. Every guy I meet is either married, a cop, or a lush from Des Moines. MICHELLE But what about us? TINA You taught us the act. The songs, all the moves. CHRISTY And where did it get me? I'm stuck in this rathole! You're holding me back, just like Vince! I should be headlining! A pock - faced weasel of a man named JOEY opens the door and leans into the room. CHRISTY What do you want? This is a private area! Get lost! JOEY You ai n't got nothin' I ai n't seen. CHRISTY Then stop trying to memorize it. Hit the road. Joey takes a step into the room and sets a box on the chair near Christy. JOEY From Vince. CHRISTY His ashes? JOEY With love. Joey leaves. Michelle and Tina hover around the box, very excited. They pick it up, trying to tempt Christy. MICHELLE From Vince! With love! TINA Michelle and Tina ca n't restrain themselves : they open the box. Inside is a rather gaudy fur coat. Michelle and Tina are impressed. MICHELLE It's a fur! TINA It's new! CHRISTY It's a bribe. Five years of my goddamned life! MICHELLE So you earned it! TINA Vince owns the casino! Cash in CHRISTY I should throw this in his facet There's a KNOCK on the door, and Tina opens it. Lieutenant Eddie Mulcahy enters. Christy is not pleased. CHRISTY Oh, Jesus. What is going on here? -LRB- to heaven. -RRB- Why me? Whose dog did I kill? MICHELLE Hi, Lieutenant. TINA Hello, Eddie. Eddie picks up the coat. EDDIE From Vince? What a guy. Doo - lang, doo - lang. CHRISTY At least he's not a cop. At least he can afford a decent gift. EDDIE I used to buy.you,. stuff. On your birthday. When we were seeing each other. CHRISTY Yeah, like what? Quilted coat hangers, that your mother picked out? Lottery tickets? A travel iron? EDDIE So I do n't shop. CHRISTY'Cause you're always out, arresting people. Making trouble. I do n't know why I went out with you in the first place, it was embarrassing! I could n't hold my head up, I used to tell people you were a security guard! EDDIE Oh, yeah? Well, how do you think I felt? You were singing in bowling alleys back then. I told people you were a hooker! MICHELLE Calm down, you two. It's always like this. EDDIE Yeah, well, now, she goes out with a' better class of people. Vince Laflocca. CHRISTY He's a businessman. EDDIE A what? When are you qonna wake up? CHRISTY When are you gon na get off my case? Have you got a search warrant? What do you want - cheap thrills? EDDIE Information, baby. I thought maybe somebody around here might have a conscience. CHRISTY Think again! And get out of here. EDDIE I'm going. My regards to Vince, And the Mrs. Christy hurls a jar of cold cream at Eddie's head. He ducks, and the jar hits the door. EDDIE Ladies. Eddie leaves. Christy is standing, absolutely furious. CHRISTY That's it! I'm not taking it from him, and I'm not taking it from Vince! From now on, it's all about me! And if I ca n't spend it, drink it, or sleep with it - it's gone. Like Sister Immaculata used to say, `` Life is short, and then you fry.'' So long, girls - see you in church! Christy grabs the mink and heads out the door.", "INT. VINCE'S OFFICE - NIGHT ERNIE SCHMIDT sits across the enormous mahogany desk from Vince. The young man's throat is dry ; he's sweating bullets. The presence of Joey the weasel and WILLY, a brutal thug, increases Ernie's tension. VINCE Ernie Schmidt. How long you been with us, Ernie Schmidt? ERNIE Three years, Mr. LaRocca. One behind the bar, two as croupier. Vince gestures to the lush office and its furnishings. VINCE Ernie, you know what's important to me? What counts? It's not all this. This is' - what? Frosting. Loyalty. That's me, Ernie. That's home. Vince gestures to Joey, who takes out a revolver and points it at Ernie's head. VINCE You ai n't been loyal, Ernie. What did you tell the cops? Ernie's eyes open wide with denial as the gun comes closer to his temple.", "INT. HOTEL LOBBY Holding the coat, Christy waits by the elevator. It arrives ; she gets in.", "INT. VINCE'S OFFICE The interrogation continues. ERNIE I did n't tell the cops anything. I swear. VINCE Joey? Joey slams Ernie on the side of the head with the gun.", "INT. CORRIDOR Christy steps out of the elevator and faces a maze of office cubicles with half - wall partitions. The floor is deserted and dark as she makes her way through the cubicles.", "INT. VINCE'S OFFICE Vince is standing over Ernie, holding his head up by the hair. VINCE Who else, Ernie? Who else was in on it? ERNIE -LRB- moaning. -RRB- No one. VINCE -LRB- dropping Ernie's head in disgust. -RRB- Why am I wasting my time?", "INT. EXECUTIVE CORRIDOR Beyond the cubicles, Christy strides down a lush corridor to an executive suite. She tries the knob, but finds the door locked. Pulling a key from her purse, she unlocks the door to the suite and enters a large outer office with a reception area and doors to several inner offices. She tosses the key onto the receptionist's desk. CHRISTY Wo n't need that anymore. Ta - ta. Crossing to Vince's office, Christy squares her shoulders and narrows her eyes with anger as she reaches for the doorknob. She pauses for a second, and then doubles her resolve.", "INT. VINCE'S OFFICE VINCE Do it. -LRB- to Joey. -RRB- ANGLE on the door to the office, which opens. Christy appears, with the mink coat in her arms. CHRISTY Stuff this up your. A GUNSHOT is heard, 0. S. Christy's eyes widen, and her jaw drops, at what she has just witnessed. ANGLE on the office. Ernie is slumped in the chair, dead. Joey stands over him, holding the revolver. Joey, Willy and Vince stare at Christy. VINCE Babe. -LRB- icy calm. -RRB- Christy tries to speak ; she ca n't. VINCE Christy. Is there a problem? With the coat? Christy glances around the room ; she does n't move. She quickly sizes up the situation. She tries to appear matter - of - fact. unaffected by what she's just seen. CHRISTY No. it's fine. VINCE Yes? CHRISTY Thanks. A lot. VINCE Is that why you came up here, Christy? To thank me? CHRISTY Sure. VINCE And to say you're sorry. About this afternoon. And the things you said. Forgotten. Completely. Do you understand? Forgotten. CHRISTY -LRB- catching the subtext. -RRB- Right. Yeah. Forgotten. Vince crosses the room, to Christy. He takes her hands in his, and kisses them. VINCE That's my girl. My girl in mink. Will you be home? Soon? Christy kisses Vince, quickly. CHRISTY Right. I'll be. at the apartment. Call me. Thanks. Again. Christy reaches for the doorknob, without looking at the door. She fumbles a bit. She finds the door. CHRISTY Mink. Wow. Christy walks backwards, out the door. She turns ; she is gone. JOEY Vince - is she. okay? VINCE Maybe. -LRB- considering this. -RRB- WILLY I mean, wo n't she talk? She seemed kind of upset. VINCE She did. -LRB- making a decision. -RRB- Bring her back. Now. For a talk. JOEY And if she runs? VINCE -LRB- icy. -RRB- Take care of it. With guns drawn, Willy and Joey run after Christy.", "INT. RECEPTION AREA Christy, clearly terrified, is walking quickly away from Vince's office. She passes through a glass door which leads to the cubicle area. LONG SHOT of the cubicle area, which resembles a darkened maze. Christy hears Joey approaching ; she runs into the cubicle area. JOEY Christy? He only wants to talk to you! ANGLE on Christy, crouched behind a half - wall. She is clutching the coat. WILLY Christy? There is a stuffed toy, a `` Garfield the Cat,'' attached to the wall near Christy, with suction cups. Christy tries to pull the cat's feet off the wall, very quietly. JOEY Christy? Christy finally just yanks the cat off the wall. She hurls it as high and as far as she can, to the opposite end of the room. ANGLE on the flying stuffed cat. Joey sees the blur of the cat ; he SHOOTS it, and the cat explodes. JOEY Come on, Christy! There's no place to go! Christy steadies herself against a Xerox machine. She accidentally activates the machine, which lights up and starts HUMMING. ANGLE on Willy, as he hears the Xerox machine. He quickly moves toward the SOUND. Willy reaches the Xerox machine ; the area is deserted. He starts moving quickly down the aisle A chair, the kind on casters, comes rolling out of one of the cubicle doorways ; the chair hits Willy and he falls. Christy runs out of the cubicle ; Willy is on the floor, struggling to get up. As Christy sprints away, Willy SHOOTS at her. He misses, but a glass partition SHATTERS. Christy runs for an open elevator, but it has been summoned from another floor and the doors are beginning to close. She runs even faster. A BULLET whistles past her ear and hits the back wall of the elevator. She reaches for the doors a moment too late, and the elevator is gone. Christy scrambles to the door beside the elevator and runs into a stairwell as two more BULLETS bite pieces out of the door.", "INT. STAIRWELL Taking the stairs three at a time, Christy is flying, still clutching the mink. The thugs are gaining on her. A BULLET hits metal and RICOCHETS off several walls and steps. At the next landing, Christy opens the door and ducks into a corridor.", "INT. CORRIDOR Exhausted but powered by adrenaline, Christy sprints past doors to the end of the hall, still with the mink. Joey appears from the stairwell just as Christy ducks into a supply room.", "INT. SUPPLY ROOM Christy shoves a cleaning cart aside and wades through a pile of dirty linen. Joey opens the door just as Christy dives head first into the laundry chute.", "INT. LAUNDRY CHUTE Christy, lying atop the mink, flies through the chute like a subway train through a tunnel.", "INT. BASEMENT The chute spits Christy out like a bullet into a huge bin of dirty linen. Two workers glance around as they load large washing machines with laundry. Christy climbs out of the bin and dashes for a door. Working in a hotel, the workers have seen everything.", "INT. LAUNDRY CHUTE Joey flies through the chute.", "INT. BASEMENT Joey suddenly flies into the bin. He climbs out with his gun in sight. JOEY Which way? The workers point to the door, and Joey rushes across the room. One of the workers is now wearing the mink coat.", "EXT. STREET - NIGHT Joey comes out of the hotel and finds an empty street. He looks in every direction, but the nearby streets have swallowed Christy into safety for the moment.", "EXT. POLICE STATION - NIGHT The central offices of the Las Vegas Police Department.", "INT. MULCAHY'S OFFICE Eddie's office is a glassed - in area set in the middle of the station's main floor. Christy is huddled in a chair, surrounded by Eddie and two other detectives, CLARKSON and TATE. CHRISTY Right between the eyes! Down and out! The guy was gone! I. I could n't believe it! EDDIE You could n't believe it? Vince the Prince? CHRISTY I never said he was an altar boy, okay? But he sent his goons after me! They tried to kill me! I'm not kidding! CLARKSON Tough break. Whoa. EDDIE What did you expect? Vince is as dirty as they come. We've been finding bodies around here for years. CHRISTY I do n't know anything about bodies! I mean, he did n't bring it home. He was good to me. sometimes. He was sweet. He took care of me. Who am I supposed to go out with? He owns a casino. He let me sing. EDDIE He did n't do you a favor. CHRISTY Screw you! TATE Come on, she'll sing great. When she sings for us. CHRISTY Sing - like testify? Are you nuts? I just want you to protect me! You're cops! TATE Busy cops. We do n't have time to be bodyguards for anyone who comes in here with some cockamamie story. Mink coats and laundry chutes. CLARKSON Unless, of course, you're willing to testify. CHRISTY What is this, some squeeze play? Ca n't you just protect me without any strings? The three detectives move in closer now and really apply the pressure. EDDIE We could put you into our witness protection program. TATE A hiding place. CLARKSON A new identity. EDDIE But you'd have to agree to testify. The whole nine yards. CHRISTY And if I do n't? EDDIE Then - you run. TATE You wait. CLARKSON You listen for the footsteps. EDDIE Then one day they find you. TATE They open a window. CLARKSON It's ten flights up. TATE Ten flights down. CHRISTY Ten flights? EDDIE You'd lose. You'd die. All over the sidewalk. And into the street. CHRISTY All right! I get the picture! I'll do it! I'll testify! EDDIE -LRB- to Tate. -RRB- Get a stenographer. Tate leaves. Christy looks to Eddie for a bargain now. CHRISTY Okay, here's what I want. I know about this stuff. A five - star hotel. With room service. EDDIE Maybe Hawaii. CLARKSON Diamond Head. CHRISTY Yeah. And I'll need a new look. Like a disguise. EDDIE Maybe Armani. CLARKSON No - Calvin Klein. CHRISTY For sportswear. And a limo. And my hair - up? CLARKSON It could work. EDDIE Jesus, what do you think this is - Wheel of Fortune? Let me spell it out for you. You have to hide like you do n't even exist. You have to get so far hidden away that you never see sunlight. CHRISTY -LRB- confused. -RRB- Okay - no limo. EDDIE No nothing. CHRISTY What're you gon na do, put me in a bag and bury me? EDDIE I'm gon na put you in the last place on Earth that Vince would ever look for you. Eddie smiles. Christy does n't like the sound of this at all a", "INT. STAINED CLASS WINDOW - DAY Jesus delivers the Sermon on the Mount in vibrant red, blue and green stained glass. An ORGAN plays a hymn - badly. Notes are missed, skipped over and mutilated. PAN DOWN to a procession of nuns who march into a chapel at the ancient St. Katherine's Convent. The organ is n't getting any better, and we see it is being played by SISTER ALMA, a seventy - year - old nun with arthritis and a hearing aid. Apparently the hearing aid is malfunctioning, because Sister Alma does n't seem to realize how badly she's playing. As the last nun in the procession enters the chapel, she closes the door behind her. Across the lobby, the front door opens and Eddie enters with a very reluctant Christy. CHRISTY -LRB- to Eddie. -RRB- I hate you. I totally hate you. EDDIE Safest place in the world. You think Vince would look for you here? As Christy looks around the lobby, various religious artifacts loom at her ; we see them from her terrified P0V. ANGLE on a crucifix, casting an ominous shadow, a stack of hymnals, and a large, framed Sunday School - style portrait of St. Katherine. Christy shudders. CHRISTY Nuns, Eddie. There are nuns here. Everywhere. It's crawling with'em. EDDIE It's a convent. All you have to do is shut up, behave yourself, and get along. CHRISTY With nuns? With rulers? No way. I'm gon na go back, work things out with Vince. Christy turns to head back to the entrance, but Eddie catches her arm. EDDIE Vince has put out a contract on you. A hundred grand. You've seen him in action. Christy searches his eyes for a lie, but realizes he's telling the truth. CHRISTY But. but Vince loves me. How could he. I mean, five years. EDDIE And one bullet. That's all it's gon na take. CHRISTY -LRB- suddenly scared. -RRB- But Vince has contacts all over the place! This is San Francisco! They'll be looking for me! EDDIE Everywhere but this little hole - in - the - wall convent. Nobody knows you're here but me. We're trying to get a quick court date. A month, maybe two, tops. I'll spring you as soon as I can. CHRISTY -LRB- panicking. -RRB- I ca n't stay here! I'll crack up! Eddie, what am I gon na do? EDDIE Pray. -LRB- smiling. -RRB- From inside the chapel, the CHOIR begins to sing a hymn - horribly. The voices do n't blend, and individual notes are real migraine material. Christy looks aghast. Eddie urges her into a corridor, and she follows.", "INT. MOTHER SUPERIOR'S OFFICE The office is bare and austere. MOTHER SUPERIOR sits at her desk with her hands folded. Like all the nuns at the convent, she wears the traditional full - length habit and wimple. Mother Superior is in total command of all she surveys, and she seldom raises her voice or her blood pressure as she rules. Control is her passion ; within the walls of the convent, she has created a world she can trust because it's a world she controls. But Mother Superior is not in control at this particular moment. BISHOP GEORGE O'HARA stands before her with a majestic presence and some bad news. MOTHER SUPERIOR Absolutely not. I am very sorry, but no. O'HARA We can save this young woman's life, and imprison a parasite - all in one gesture. MOTHER SUPERIOR But she's been exposed to the underside of life. She is the underside of life. O'HARA And therefore an ideal prospect for rehabilitation. MOTHER SUPERIOR We're a small convent, Bishop. Surely there are. more appropriate shelters. O'HARA Your small convent is in danger of closing, Reverend Mother. The Las Vegas Police Department has offered to make a generous financial donation. MOTHER SUPERIOR But, Bishop. O'HARA St. Katherine's is a Benedictine Order. You have taken a Vow of Hospitality. To all in need. MOTHER SUPERIOR I lied. O'HARA I know. -LRB- smiling. -RRB- Mother Superior's jaw locks. She realizes she is stuck with the situation and will have to control it as best she can. There is a KNOCK at the door, and Eddie and Christy enter. O'HARA Welcome, Lieutenant. Everything is in order. EDDIE Aces. Bishop - maybe a cup of coffee, down at the corner? The thought of being left alone with Mother Superior panics Christy, like a child left in the principal's office. CHRISTY Hey, you're not leaving me alone. O'HARA -LRB- reassuringly. -RRB- You're never alone in this house, my child. Eddie touches her gently on the arm. EDDIE One month, two tops. Behave yourself. MOTHER SUPERIOR Bishop. -LRB- a last - ditch attempt. -RRB- O'HARA -LRB- opening the door to leave. -RRB- Lieutenant?", "EXT. THE CONVENT - A FEW SECONDS LATER Eddie and Bishop 0 ` Hara are leaving, by the convent's front door. As they exit, they hear the CHOIR, singing horribly. They both wince at the sound, and then chuckle.", "INT. MOTHER SUPERIOR'S OFFICE Christy is pacing, outraged at her new situation. CHRISTY A convent? They put me in a convent? What's the problem? Was n't there any more room in Hell? MOTHER SUPERIOR -LRB- very calm. -RRB- What is your full name? Your Christian name? CHRISTY Mother Theresa. Gandhi. Do n't you understand? This is all a mistake. I'm the good guy. I'm the witness. And I'm being punished! MOTHER SUPERIOR Your name? CHRISTY Christy. Christy Van Cartier. MOTHER SUPERIOR Enough joking. CHRISTY That's my real name! Currently I'm a singer. Sort of. MOTHER SUPERIOR Very well. CHRISTY Oh my God. This is n't happening, tell me this is n't happening. It's a nightmare, I'm back at St. Anne's! MOTHER SUPERIOR St. Anne's? CHRISTY Parochial school. Akron. St. Android's. MOTHER SUPERIOR You were unhappy? CHRISTY I was expelled! When I was fifteen? MOTHER SUPERIOR The reason? CHRISTY Beats me! What do you think? Smoking! Heavy petting, without a chaperone. Heavy petting, with the chaperone. And wearing a black bra, under my uniform. The demon bra. MOTHER SUPERIOR I see. CHRISTY You see? You see? I have to get out of here I have to make a phone call. Do n't you get it? I'm in a convent! You're a nun! MOTHER SUPERIOR -LRB- very stern. -RRB- Sit down. CHRISTY What? Mother Superior rises. She is an extremely imposing woman. MOTHER SUPERIOR Sit. Christy sits in a wooden chair across from Mother Superior. MOTHER SUPERIOR Miss Van Cartier. CHRISTY What? -LRB- belligerent. -RRB- MOTHER SUPERIOR Your cigarette - out. Christy inspects her cigarette. MOTHER SUPERIOR -LRB- ruefully. -RRB- It has come to pass. CHRISTY What? MOTHER SUPERIOR I joined this convent some thirty years ago. At that time, the world knew some measure of peace. And hope. Our order was a beacon of hospitality, to families, to children, to a neighborhood filled with promise. And, as the years have passed, I have watched that promise destroyed. Drugs. Gangs. -LRB- staring at Christy's outfit. -RRB- Spandex. And. so I have made this convent an oasis, a retreat from horror. And now that horror has invaded these sacred walls. CHRISTY Are you talking about me? MOTHER SUPERIOR And all those like you. CHRISTY You mean black people? MOTHER SUPERIOR Absolutely not. I mean the wicked. The heedless. And their Las Vegas concubines. CHRISTY -LRB- very suspicious. -RRB- What's a concubine? MOTHER SUPERIOR Check your driver's license. Christy stands, facing off with Mother Superior. CHRISTY Fine. Got it. Look, the way I see it, I'm stuck here, right? I mean, I'm here or I'm target practice. So here's the deal - I do n't bug you, you do n't bug me. I'll catch up on some sleep, watch some tube, lay back and lay low. So just get me a key and show me to my room, and do not disturb. Capisce? MOTHER SUPERIOR -LRB- suspiciously gracious. -RRB- Of course. But it's almost lunch. CHRISTY Cool. Is there a menu? Or buffet? MOTHER SUPERIOR Before we do, you might like to freshen up. And you'll certainly want to change CHRISTY -LRB- sniffing her clothes, the same outfit she's had on since the night at Vince's office. -RRB- Deal.", "INT. CONVENT CHANGING ROOM A small room, with a sewing machine, some bolts of fabric, and several wooden cabinets. There is a wooden screen in a corner, marking a changing area. Christy is behind the screen ; we hear her, but do not see her, Mother Superior stands beside the screen, catching the various items of clothing which Christy tosses to her. CHRISTY -LRB- O.S. -RRB- How about a robe? One of those big terry cloth jobs, with like embroidery on the pocket. `` Guest of St. Katherine's'' MOTHER SUPERIOR Would you like that? Mother Superior takes Christy's skirt and blouse, and tosses them down a chute marked `` INCINERATOR.'' CHRISTY -LRB- O.S. -RRB- You should hand - wash that blouse, and send somebody out for some things. I look good in reds, purples, hot pink - and shoes. Five - inch heels. Fuck - me pumps. Oh, man - sorry. ` Scuse my mouth. Mother Superior carries Christy's lacy bra at the end of a ruler ; it goes down the incinerator. MOTHER SUPERIOR Excused. Open the cabinet to your left. You will find appropriate attire. CHRISTY -LRB- O.S. -RRB- Can do.", "INT. CHAPEL A group of nuns are praying, their heads bowed. They hear a muffled SCREAM, from elsewhere in the convent. They look up, puzzled.", "INT. CONVENT CHANGING ROOM Christy is standing before a full - length mirror, staring at herself, in complete shock. She now wears a habit and wimple. Mother Superior is doing final adjustments on the wimple. CHRISTY -LRB- almost unable to speak. -RRB- No! No! I ca n't do this! MOTHER SUPERIOR Normally dressed, you are a sore thumb, and you endanger us all. While you are here, you will conduct yourself as a nun. Only I shall know who, and what, you truly are. You will not disrupt the convent. You will not influence the Sisters with your colorful street talk. You will draw no attention to yourself in any way. CHRISTY -LRB- furious, in disbelief. -RRB- But look at rites Look at this! I'm a nun! I'm invisible! I'm a penguin! MOTHER SUPERIOR As of now, and until you leave, you are Sister Mary Clarence. CHRISTY -LRB- outraged. -RRB- Mary Clarence? Like a guy? Like a dumb guy?", "INT. CONVENT HALLWAY - A MINUTE LATER Mother Superior is striding down the hall. Christy is beside her, trying to get the hang of her new outfit. MOTHER SUPERIOR The Mary is in deference to the Holy Mother, the Clarence in honor of Saint Clarence Loyola. There are three vows that every nun must accept. The vow of poverty. CHRISTY -LRB- pulling out her pockets. -RRB- No problem. MOTHER SUPERIOR The vow of obedience. CHRISTY Like to who? MOTHER SUPERIOR And the vow of chastity. CHRISTY I'm outta here. Christy starts to leave ; Mother Superior grabs her by the wimple", "INT. CONVENT DINING HALL A large, whitewashed gothic room, with oak beams and a crude iron chandelier. There is a long, central wooden table, with rough wooden benches. The convent's population is standing around the table in silence. There are about thirty nuns in all. Mother Superior moves to the head of the table, with Christy following her. She motions for Christy to stand at her right. MOTHER SUPERIOR Good afternoon, Sisters. I apologize for my tardiness. I would like you to welcome a new member of our order, Sister Mary Clarence. ANGLE on SISTER MARY ROBERT, the nun standing beside Christy. Sister Mary Robert is naive and mouse - like, but very sweet. She has only been at the convent a few years ; she wears the simpler habit of a novice. She sneaks a look at Christy. Her eyes widen, and then she resumes staring at her hands. MOTHER SUPERIOR Mary Clarence comes to us from a somewhat more progressive convent. She is eager for a more disciplined life, and will make every effort to conform to our ways. Everyone sits, including Christy. SISTER MARY PATRICK, a nun seated at the middle of the table, waves her hand. Mary Patrick is extremely cheerful, a truly upbeat person. MOTHER SUPERIOR Yes, Mary Patrick? MARY PATRICK Reverend Mother, on behalf of the sisters, I'd like to welcome Mary Clarence to St. Katherine's. ANGLE on Christy, looking thoroughly disgusted. MARY PATRICK As part of our welcome, I've had a little thought, just for fun. Could we have our new friend offer today's blessing? ANGLE on the nuns, watching Christy. MOTHER SUPERIOR -LRB- reluctantly. -RRB- Very well. Mary Clarence, rise please. Christy stands up slowly, aghast. CHRISTY A blessing? Like, for lunch? ANGLE on Mary Patrick, beaming. She and the other nuns bow their heads. CHRISTY -LRB- trying to recall a blessing. -RRB- For what we are about to receive. So far, so good. Mother Superior has one eye open. CHRISTY may the Lord. prepare us and. watch us and. walk through the valley and be our shepherd and. to the republic for which it stands. God bless us every one, hallowed be thy name. Hallelujah. Ave Maria. Boyardee. Amen. ANGLE on the nuns, staring at Christy. Mother Superior rises, very quickly. MOTHER SUPERIOR Sisters, for the rest of the day we shall declare a Vow of Silence. CHRISTY A what? MOTHER SUPERIOR Surely you are familiar with this practice, Mary Clarence. Only when our lips are silent, can our prayers truly be heard. CHRISTY Silence? No talking? All day? MOTHER SUPERIOR Until sundown. CHRISTY -LRB- mouthing the words. without speaking aloud. -RRB- Oh my God. Christy reaches for a piece of bread. MOTHER SUPERIOR And Mary Clarence? Christy looks up. MOTHER SUPERIOR As a new member of our order, I think you might also enjoy a ritual fast. CHRISTY -LRB- mouthing the words. -RRB- A what? MOTHER SUPERIOR A fast. To remind us of the poor, of those who must endure without enough to eat. CHRISTY -LRB- mouthing. -RRB- No food? MOTHER SUPERIOR -LRB- taking away Christy's plate. -RRB- No food. Not until sundown. ANGLE on Christy, clutching her fork, hungrily watching the other nuns eat.", "EXT. POLICE STATION - DAY Vince leaves the police station with his henchmen, Joey and Willy, and LARRY NARREN, an attorney. Vince is steaming as they walk through the parking lot. VINCE They grilled me for six hours in there. And my hotshot lawyer - where the hell were you? LARRY It takes time, Vince. Slow and steady. We've been through this before. Vince reaches his car. As Joey opens the door for him, another car drives by, and stops. Eddie is driving ; he leans out the window. EDDIE So long, Vince. See you soon. Vince lurches toward Eddie ; Larry restrains him. Eddie drives off, chuckling. VINCE He's so damn cocky. This is different. JOEY It's a bluff, Vince. VINCE You know so much. They've got Christy, and we've got to find her. Get her 8x10, from in front of the lounge. Fax it to every contact we got. Larry covers his ears with both hands. LARRY I ca n't hear this. I'm an attorney, Vince, and you're just an honest casino owner. Object of a witch hunt. Innocent victim. VINCE Keep the message vague, but let'em know. The price has gone up. Christy Van Cartier - a quarter of a million. Dead or nearby. Vince looks grim and vindictive, as he gets into the car.", "EXT. CONVENT VEGETABLE GARDEN - DAY The vegetable patch is located behind the convent, on a patch of land surrounded by high walls. Various sections have been partitioned with string and then furrowed. Several nuns are working in the patch, weeding and raking. They wear large, ungainly straw hats over their wimples. Christy has been given a hoe and a straw hat. She is hacking at the dirt, with great disinterest. She picks up a carrot from the vegetable patch ; she looks around to see if anyone is watching. She starts to gnaw on the carrot. She becomes aware that someone is watching her. She looks up. Sister Mary Robert is watching Christy eat the carrot, breaking her fast. Christy drops the carrot on the ground, as if it burned her. Mary Robert resumes hoeing in the next furrow over. Christy stares at Mary Robert, narrowing her eyes. Christy looks around ; all the other nuns are busy at their tasks. Christy decides that she will try and make Sister Mary Robert talk. She picks up the carrot and tosses it at Mary Robert. Mary Robert jumps. She waggles a finger at Christy, scolding her. Mary Robert resumes hoeing. Christy is now determined. She takes her hoe, and tiptoes nearer to Mary Robert. Very gently, she uses the handle of the floe to lift Mary Robert's skirt, and gooses her. Mary Robert vips, very loudly. All the other nuns turn and stare at Mary Robert, scolding her. Christy waggles her finger at Mary Robert, scolding her. Christy, giggling to herself, resumes hoeing. She sees Mother Superior, standing at the end of the furrow. Mother Superior looks extremely grim ; she has not missed anything.", "EXT. SUNSET - THAT NIGHT LONG SHOT of the sun going down, ending the nuns' Vow of Silence. We hear Christy SCREAM, O.S.", "INT. CONVENT HALLWAY - THAT NIGHT This hallway is marked by a series of heavy wooden doors with tiny, grilled windows. These are the cells where the nuns sleep. Nuns are entering their cells and closing their doors for the night. Mother Superior glides down the hall, followed by a dusty, bedraggled Christy. Christy is devouring a slice of brown bread. CHRISTY Is this all the food I get? MOTHER SUPERIOR Yes. Until breakfast. CHRISTY That's tomorrow! Do n't you have any snacks? Machines? They stop by a door. MOTHER SUPERIOR This shall be your cell, Mary Clarence. CHRISTY My what? MOTHER SUPERIOR Your cell. Your room.", "INT. CHRISTY'S CELL The door swings open, and Mother Superior and Christy enter. The room is tiny, with bare plaster walls. There is a narrow wooden bed, with a thin muslin - covered mattress. There is a small nightstand and a wooden stool. CHRISTY -LRB- looking around. -RRB- You were right the first time. Is this like, solitary? The cooler? Where's the furniture? MOTHER SUPERIOR Our lives are simple. We have little need for material possessions. CHRISTY Right, sure thing. But what about, like, appliances? Like a little color portable? Boom box? MOTHER SUPERIOR Useless distractions. CHRISTY -LRB- sinking to the bed. -RRB- It's like the Stone Age. The room time forgot. What about a phone? MOTHER SUPERIOR And whom would you call? CHRISTY Oh, I do n't know. Satan? MOTHER SUPERIOR -LRB- not amused. -RRB- Your cell is more than adequate. CHRISTY Right. So what do we do now? Ping - Pong? Row over to the monastery? MOTHER SUPERIOR It is nine p.m. Pleasant dreams. CHRISTY Wait. No. You're kidding. Lights out? At nine? My day's just starting. MOTHER SUPERIOR I'm sure. If I were you, I would use this time, to think about my life. And its direction. Or lack thereof. CHRISTY -LRB- indignant. -RRB- What's wrong with my life? MOTHER SUPERIOR From all I've heard, just about everything. Your singing career seems all but nonexistent, and your married lover wants you dead. If you're fooling anyone, it's only yourself. God has brought you here. Take the hint. Mother Superior leaves. After the door shuts, Christy stands and looks out the one small window in her cell. She leans her head against the wall. She is trying not to think about what Mother Superior has said. Still, the mess her life has become overwhelms her. She fights back tears.", "EXT. CONVENT - DAY The sun is just barely rising, as the convent BELL tolls.", "INT. CHRISTY'S CELL Christy is fast asleep. There is a RAPPING at the door. MARY ROBERT -LRB- 0. S. -RRB- Sister Mary Clarence!", "EXT. CONVENT HALLWAY All the nuns are proceeding, in their simple robes and nightshirts, down the hallway. Christy's door opens ; she is still in her nightshirt, and her hair is a mess. CHRISTY What? Mary Robert, in her nightshirt, stands outside. MARY ROBERT Come on, we're late. CHRISTY What? What time is it? MARY ROBERT It's after five. We have to bathe. CHRISTY -LRB- groaning. -RRB- Five a.m?", "INT. HALLWAY OUTSIDE BATHING ROOM - A FEW MINUTES LATER Christy is standing on line in the hall, along with several other nuns ; they are waiting to take showers. They carry soap and towels. MARY PATRICK -LRB- sincerely. -RRB- Is n't it a glorious morning? Good morning, Mary Clarence. sleep well? CHRISTY Right. MARY ROBERT Is this like your old convent? MARY PATRICK Which convent was that, Sister? CHRISTY Which convent? It was, um, the Little Sisters. of the Moonlight. In Vegas. Everybody used to come to Mass.. Frank. Dean. Sammy. Right at ringside. MARY LAZARUS Enough jabber. MARY LAZARUS is a much older nun ; she is very no - nonsense, a hard - liner. CHRISTY What? MARY LAZARUS Progressive convents. Vanity. It sounds awful. It sounds just like this place. CHRISTY Like this place? MARY LAZARUS I like my old convent, in Vancouver. Out in the woods. It was n't all modern, like here. No electricity. Cold water. Bare feet. Those were nuns. It was Hell on earth, but I loved it. This place is a Hilton.", "INT. BATHING ROOM A stone room that is very medieval - looking. One wall is divided into stalls by wooden partitions. In each stall is a nun, standing beneath a crude shower head that releases a thin stream of lukewarm water. We see only the nuns' heads and shoulders. Still sleepy, Christy leans against the wall of her stall, her eyes closed. Lost in thought, she begins singing softly to herself. CHRISTY MY BOYFRIEND'S BACK AND YOU'RE GON NA BE IN TROUBLE A FEW OTHER NUNS -LRB- very softly. -RRB- HEY - LA, HEY - LA Christy looks up from her reverie ; she looks around. The other nuns are bathing, their eyes down. There is no sign of singing. Christy decides to try a test. CHRISTY MY BOYFRIEND'S BACK HE'S GON NA SAVE MY REPUTATION A FEW OF THE NUNS -LRB- still very softly. -RRB- HEY - LA, HEY - LA CHRISTY IF I WERE YOU, I'D TAKE A PERMANENT VACATION A FEW OF THE NUNS HEY - LA, HEY - LA MY BOYFRIEND'S BACK The nuns giggle. CHRISTY Where did that come from? MARY PATRICK I have n't heard that song in ages. The Ronettes? MARY LAZARUS -LRB- very grouchy. -RRB- Shirelles. CHRISTY You know that song? MARY PATRICK 1961?' 62? Mary Clarence, that's when many of us took final vows. It's the last secular music we recall. CHRISTY No. HEY - HE KNOWS THAT YOU BEEN CREATING NOW YOU'RE GON NA GET A BEATING ALL THE NUNS HEY - LA, HEY LA MARY LAZARUS -LRB- cutting off the song. -RRB- That's enough. We've got to get to chapel. Mary Lazarus leaves the bathing room, and the other nuns resume scrubbing themselves. Christy looks around. CHRISTY Anybody got conditioner?", "INT. CHAPEL - A FEW MINUTES LATER Bishop O'Hara is leading the Sunday mass. He stands in the pulpit. The choir nuns stand in a fenced - in area to his left. The remaining nuns, including Christy and Mother Superior, sit in the first few pews. O'HARA We are a small congregation this morning. Too many mornings. Something has gone terribly wrong. Where is faith? Where is celebration? Where is everyone? Still, rather than regret the absence of our neighbors, let us rejoice in the fellowship of those present. Our choirmistress, Sister Mary Lazarus, has informed me that our choir, while always superior, has been toiling especially hard on this week's selection. Sister? Mary Lazarus raises her hand, and the choir begins singing. They sing a traditional hymn, `` Let Thy Thoughts Be Guided.'' As always, their singing is dreadful ; they have no tempo or pitch, and the hymn becomes an off - key drone. As the hymn continues, the CAMERA PANS OVER the chapel. Aside from the nuns, it is almost empty ; only a few elderly people are in attendance. ANGLE ON CHRISTY sitting with the other nuns. She is clearly about to fall asleep. Then the choir hits a particularly horrendous note, and Christy jerks awake. She immediately tries to assume a pious expression, tilting her head and folding her hands in prayer ; she looks like a somewhat demented Sunday School calendar.", "EXT. LAS VEGAS POLICE DEPARTMENT Detective Clarkson gets out of his car and hurries into the police station.", "INT. POLICE STATION Clarkson crosses the busy room to Eddie's glass - walled office. Along the way, he signals Detective Tate to follow him.", "INT. MULCAHY'S OFFICE Eddie looks up from his desk as the two detectives enter. CLARKSON There was a raid on a pawnshop in L.A. this morning. The place was fencing stolen property. They found this. Clarkson gives Eddie a fax sheet, showing a publicity photograph of Christy. EDDIE Jesus. Data - base hoods. It's a wonderful world. -LRB- reading the fax sheet. -RRB- Beloved daughter missing. Reward of two hundred and fifty thousand dollars. Please find our adored angel, we miss her so. Dead or alive. TATE Vince is getting desperate. Where is she, Eddie? Where'd you stash her? EDDIE Where's who? TATE You wo n't even tell us? EDDIE I would n't even tell the Pope.", "INT. CONVENT SCHOOLROOM - AN HOUR LATER A plain whitewashed classroom, with battered student - style desks. A group of about eight local TEENAGE GIRLS has gathered. The girls wear extremes of hair, makeup and clothing ; they are bored and scruffy, clearly the local bad Girls. Sister Mary Patrick is leading the class, in her usual perky manner. MARY PATRICK Good afternoon, young ladies. And welcome to our Christian Youth Group. The Girls make grunting noises. MARY PATRICK Hi. I hope we'll have some fun, and maybe learn a little something, too. Now, today's topic is something very up - to - date - `` Teenage Promiscuity.'' My. Now, can anyone tell me - just what is promiscuity? ANGLE on the Girls, exchanging glances and rolling their eyes. MARY PATRICK Anyone? Yes? Mary Patrick points to a Girl in bicycle pants. a bustier and a leather baseball cap. Her name is Lawanda. LAWANDA Uh, it's like, you know, doin' it. A whole lot. Till your head falls off. MARY PATRICK -LRB- blushing. -RRB- Well, yes. That is one way to put it. Mother Superior enters the classroom accompanied by Christy MOTHER SUPERIOR Sister Mary Patrick? MARY PATRICK Yes? MOTHER SUPERIOR I need to see you, at once. Girls, please excuse Sister Mary Patrick for a few moments. Mary Clarence? CHRISTY Yeah? MOTHER SUPERIOR Girls, this is Sister Mary Clarence. She'll be minding you until Sister Mary Patrick's return. Mary Clarence, please assign a biblical passage. Do not attempt discussion. Am I understood? CHRISTY I got it. MOTHER SUPERIOR -LRB- to Mary Patrick. -RRB- Come, Sister. Mother Superior and Mary Patrick leave the classroom. Christy now stands at the front of the room. She is visibly uncomfortable. CHRISTY So, hi there. I'm. Sister Mary Clarence. And you're. young Christians. I guess I should assign you this passage. What's good? What were you talking about? LAWANDA We were talking about the wild thing. Teen promiscuity. CHRISTY -LRB- after a beat. -RRB- Really. CHARLENE Yeah. Sister Mary Pat was discussing it. You know she thinks it's a sin. CHRISTY -LRB- trying to behave. -RRB- Well. yes. Yes it is. LAWANDA -LRB- goading Christy. -RRB- How come? Sister? CHRISTY -LRB- still trying to behave. -RRB- Well. because it's in the Bible. `` Thou shalt not.'' Thou shalt not. The Girls all laugh and make jeering noises. CHRISTY Excuse me - just what are you all doing here? At Sunday School? LAWANDA'Cause we love it so damn much. And cause we got ta come here. Probation. CHRISTY Probation? CHARLENE Yeah. We all got caught. Shoplifting. Cuttin' school. Cuttin' up some bitch with a blade. So we got ta come here. So we'll be good, in the future. So we'll learn valuable lessons. And I learned mine. I will be incredibly good, I will never rip out nobody's nose - ring by accident ever again. Can I go now? CHRISTY -LRB- getting fed up. -RRB- Yeah, you learned a whole lot, I can tell. LAWANDA Well, what would you know about it, anyway? What do any of you nunheads know about anything? About doin' the nasty, or gettin' high? CONCHITA Leave her alone, Lawanda, she's just some ol' nun! Do n't pick on no nun, it's bad luck! CHRISTY -LRB- fed up. -RRB- Shut up! All the Girls look up, stunned by Christy's language. CHRISTY Okay, so maybe I'm a nun - so, you want to ask me something? You want to listen, for once in your little lives? You want to pay some attention? CHARLENE What about crack? You a user? CHRISTY I said I was a nun, not an asshole. All the girls jeer at Charlene. KESHIA Got you, Charlene! CONCHITA Dunked by the nun! LAWANDA -LRB- more sincerely. -RRB- Well, what about the sex stuff? What if some dude is after you, and he's always saying stuff, commin' on sweet and mellow. Like, oh, baby, you know you'll love it. Oh, baby, if you loved me, you'd stay. CHRISTY And you listen to that? LAWANDA No, but. I do n't know. sometimes. CHRISTY Hey, I know, it's hard. But do what I do. LAWANDA -LRB- puzzled. -RRB- What you do? CHRISTY Just tell him, I do love you, but I ca n't - I'm a nun. The girls all laugh ; they are really beginning to like Christy. CHARLENE But, like what if you are doin' it? What about protection? Who's responsible? CONCHITA What about them things, you know, for the guy? Are n't they like, a mess to put on? Do n't they kinda mess up the mood? CHRISTY Deal with it, sweet thing. It's important, nowadays. You just practice at home, with a balloon and a banana. MOTHER SUPERIOR -LRB- 0. S. -RRB- Mary Clarence! Mother Superior has returned, with Mary Patrick. Everyone has been so wrapped up in the discussion, that no one has noticed their entrance. CHRISTY -LRB- thinking on her feet. -RRB- Because a banana is part of a balanced breakfast. And do n't forget fiber.", "INT. MOTHER SUPERIOR'S OFFICE - LATER THAT DAY Mother Superior is seated behind her desk ; she is very angry. Christy sits across from her. MOTHER SUPERIOR A balloon and a banana! Tell me, Mary Clarence, what were you thinking? CHRISTY Those girls were asking questions. They've got it rough. I wish somebody had talked to me about that stuff when was their age. I wish somebody would talk to me about it now. MOTHER SUPERIOR This is a convent, not a clinic. We offer moral guidance, not hardware. CHRISTY Have you been out in those streets? Do you know what those kids are up against? You should help them! MOTHER SUPERIOR We are nuns. We seek solutions through prayer. CHRISTY Sometimes it's not enough! MOTHER SUPERIOR You are correct. Sometimes prayer alone can not help a situation. Such as your own, for example. How do you feel about physical labor? CHRISTY It never solves anything. MOTHER SUPERIOR Do your recall the words of Saint Peter, in Ecciesiastes 1:27? He spoke unto a wastrel youth. He said, `` Take up thy task, and know ye the path of contentment.'' CHRISTY In English? MOTHER SUPERIOR How to put it. ah, Of course, Mary Clarence. `` No pain, no gain.'' Mother Superior smiles in a rather evil manner.", "INT. VINCE'S OFFICE - DAY Vince is on the telephone in his office at the Moonlight Hotel and Casino. He clearly has a new mistress or two. VINCE -LRB- very seductive. -RRB- Baby, you know I do. of course. I feel it too. I'm blushing. can you hold? A second telephone RINGS, and Willy answers it. Vince meanwhile has pushed a button on his phone and is involved in a second romantic call. VINCE Soon, you gorgeous thing. tell me. how lonely? WILLY It's that call you were expecting, Vince. VINCE Can you hold? Can you try? Willy passes the phone to Vince. t VINCE Have you found out where Christy is yet? Hey, bozo, you re on my payroll! You want to try making it on a cop's salary? Find her, and find her now! Vince passes the phone back to Willy. VINCE Raise the ante to three hundred grand. Willy heads for the fax machine. Vince regains his composure, and picks up his own phone ; he pushes a button. VINCE Sorry, baby. you are? Totally? Not a stitch? Yeah, I'm naked too. inside.", "INT. CONVENT CRAFTS ROOM This is a large, open room where the nuns create various gift items which the convent sells to support itself. Several nuns sit at a table, diligently hand - painting Christmas cards and making Christmas tree ornaments. On the other side of the room is a large, free - standing loom, which resembles a grand piano. The loom is wooden ; a tapestry is half - completed. Mary Patrick is seated at the loom, which is a complicated mechanism. Christy stands beside her. MARY PATRICK The minute I saw you. I said to myself, she's a weaver. Have you ever used a loom? CHRISTY Not in years. MARY PATRICK Well, it all comes back, in just a jiffy. I'm working on a wall - hanging, of the convent. CHRISTY Why? MARY PATRICK To sell, of course. I hate to say it, but we're in terrible trouble here at St. Katherine's. We need a new roof, the furnace is going, and there's no money. CHRISTY But do n't you get money? From the Vatican? MARY PATRICK Mary Clarence. Goose. We're completely self - supporting. Like all convents. Like yours. CHRISTY Oh, right. At my old place, we used to. wash cars. Groom dogs. So. nice loom. MARY PATRICK Is n't it lovely? Now I'll demonstrate, and then you can hop right in. -LRB- as she deftly works the loom. -RRB- You just draw your beater in, keep it pressed against the pick, and open the shed. Then pass your shuttle, beat, and open the next shed. Shuttle. beat, beat, shuttle, beat, shed. Keep tension on the warp. Is that clear? CHRISTY -LRB- pretending to be fascinated. -RRB- Just about. Show me again. MARY PATRICK You betcha. CRAFTS ROOM - AN HOUR LATER ANGLE on the wall hanging, which has progressed considerably. ANGLE on Christy, leaning against the wall, thumbing through a magazine. ANGLE on Mary Patrick, hard at work at the loom. MARY PATRICK Shuttle, beat, shed. And watch your heddles. CHRISTY I love my heddles. Show me again. Mother Superior appears. MOTHER SUPERIOR Mary Clarence - how is your weaving progressing? MARY PATRICK Oh, she's doing just fine, Reverend Mother - CHRISTY Really catching on. MOTHER SUPERIOR Good. Mary Patrick, I need you in the office. Mary Clarence, carry on. Mother Superior gestures to the loom. Christy sits at the loom, and waves as Mother Superior and Mary Patrick exit. Christy stares at the loom ; a look of horror crosses her face. She has not been paying attention to Mary Patrick's instructions. She cracks her knuckles, as if she were about to play the piano. She grabs two parts of the loom, at random. She moves these parts. ANGLE on the loom. As a result of Christy's movements, the loom collapses, piece by piece. The tapestry unravels, the many skeins of wool snap, and the mechanical apparatus disintegrates, until finally the entire loom shudders and falls to the floor, as Christy watches, aghast.", "INT. CORRIDOR Mother Superior is striding down the hall ; she is livid. Christy trails behind her, trying to keep up. CHRISTY I'm sorry, I'm not a weaver! MOTHER SUPERIOR Months of work, and the loom, absolutely ruined! CHRISTY Look, this is n't my kind of thing! I was n't cut out to make little tapestries, or knit little sweaters! I do n't do that! I'm a star! Mother Superior stops dead in her tracks ; she turns and stares at Christy. Then she smiles, in a rather frightening manner. MONTAGE - CHRISTY A -RRB- on her hands and knees. scrubbing the stone floor of a convent hallway. B -RRB- crawling along between the pews in the chapel, oiling every inch of wood with a bottle of polish and a rag. C -RRB- crawling along the convent roof, cleaning out gutters with a trowel. She discovers a dead rat in one of the gutters. D -RRB- sewing ; she is repairing a hole in a habit. The CAMERA PULLS BACK. Christy is sitting in a small stone room, surrounded by piles of torn habits, linen and other mending.", "INT. MOTHER SUPERIOR'S OFFICE Christy is on the phone in the darkened office. She keeps checking the door, to make sure no one is listening. CHRISTY -LRB- into phone. -RRB- Let me talk to Detective Eddie Mulcahy. It's an emergency. Real bad. EDDIE'S VOICE Mulcahy. Christy cups her hand around the phone and speaks quietly and frantically. INTERCUT between Christy and Eddie. CHRISTY Eddie, you've got to get me out of here. EDDIE Not again. You ca n't keep calling. Somebody's going to catch on to where you are. CHRISTY But I'm going insane! All these people do is pray and work, work and pray! I do n't get it - when's the weekend? They have gruel, Eddie, that's what they call food! Gruel - it's like Alpo for nuns! I sleep in a cell, on a board, and I pray five times a days Do you know what I pray for, Eddie, do you have any idea? Check your crotch, Eddie - anything fall off yet? Get me outta her! EDDIE Calm down. Look, I did n't want to tell you this, but we've had some problems with our protection program lately. CHRISTY Like what? EDDIE Keeping our witnesses alive. We hide them, but there's a leak in the department, and they end up dead. CHRISTY You son - of - a - bitch! EDDIE I just need a few more weeks, CHRISTY But it's a nightmare! Mother Superior is out to get me! She hates my guts! She keeps thinking up new kinds of torture! In the distance, Christy hears the CHOIR practicing ; they sound even worse than usual. CHRISTY -LRB- holding the phone out. -RRB- Do you hear that? That choir? Eddie, in here, that's what they call music! EDDIE Do n't call again. It's not safe. I'll be in touch. As the line goes dead, Mother Superior enters. Christy takes her dust rag and pretends to polish the receiver. She sings as she works. CHRISTY THE HILLS ARE ALIVE WITH THE SOUND OF MUSIC. Still singing, Christy breezes out of the room. Mother Superior looks mystified.", "INT. CHRISTY'S CELL - MIDNIGHT Christy is lying flat out on her bed, in her habit, utterly exhausted by the week's hard labor. There is a meek SCRATCHING at her door. CHRISTY -LRB- without moving. -RRB- Yeah? Sister Mary Robert enters, very shyly. She barely looks up. CHRISTY What? What does she want now? I did the dishes. I oiled the pews. I dusted the hymnals. Two hundred hymnals. Why ca n't people share? MARY ROBERT -LRB- not speaking above a whisper. -RRB- I. I. CHRISTY What? MARY ROBERT I. I brought you something. CHRISTY A cigarette? MARY ROBERT An extra heel of bread. Please take it, you need your strength. You've been working so hard. Mary Robert holds out a rather rugged crust of brown bread. Christy takes it. CHRISTY Thanks. So which one are you? Sister Bruce? Sister Doug? MARY ROBERT -LRB- until almost whispering. -RRB- Mary Robert. I'm. Mary Robert. CHRISTY Right. Okay. Bob. Nice to know you. Mary Robert nods, and resumes looking at her hands. She does n't 1eave, but she's still tongue - tied. Christy is at a loss. CHRISTY So, Bob, how long have you been in? St. K's? MARY ROBERT Three years. Sister. CHRISTY Three years. A rookie. MARY ROBERT A novice. CHRISTY Yeah, like a learner's permit, right? When do you hit the big time? You know, when do you take the final vows? Mary Robert bursts into tears. CHRISTY Whoa! Bob! What's going on here? What'd I say? MARY ROBERT -LRB- still sobbing. -RRB- You have to help me CHRISTY Right, sure, but what's the problem? Are they keeping you a prisoner here? Do they drug you? Did Reverend Mother like, kidnap your parents? We can call the Enquirer. MARY ROBERT No, you do n't understand - I do n't want to get out! I want to get in? CHRISTY Excuse me? MARY ROBERT Oh. Mary Clarence, I'm so unworthy. I want to take my final vows, I would do it tomorrow, but Reverend Mother wo n't let me! CHRISTY She wo n't? Why not? MARY ROBERT She says I should wait. She says that no one should become a nun as an escape from life. She says that I'm not experienced enough to make the decision yet. In a mature manner. CHRISTY She said that? Reverend Mother? Mary Robert nods, solemnly. Suddenly, from the streets outside the convent, we hear a BLAST OF hot dance MUSIC, and the SOUND of laughter and carefree conversation. CHRISTY Well, then there's only one thing to do. MARY ROBERT What? CHRISTY Reverend Mother says you need experience, right, in life. In order to make a responsible decision. This is going to be very painful for me. You know how much I love this little room. This whole convent. Wait. Christy stands, and goes to the crucifix hanging on the wall. She speaks to the crucifix, and listens, as if Jesus is advising her. CHRISTY -LRB- to Jesus. -RRB- Must I do this thing, 0 Lord? Please help me.,. yes, I know. I must put my selfish cares aside. I must think of others. yes, she's here. -LRB- she gestures to Mary Robert. -RRB- He says hi. yes, I understand. let thy will be done. Amen. You too. Christy turns to Mary Robert, having received a holy message. CHRISTY We must do this sacred thing, Mary Robert. MARY ROBERT -LRB- desperate. -RRB- Of course! We must do it! It's the will of God! What is it? CHRISTY -LRB- shutting her eyes, for the full spiritual effect. -RRB- We must. get you some experience. We must. leave this place. MARY ROBERT Are you sure? Another BLAST OF MUSIC from the street. Christy turns to the crucifix. She gets confirmation. CHRISTY -LRB- to Jesus. -RRB- We hear you.", "EXT. STREET The outer wall of the convent. A door swings open, and Christy sticks her head out. She looks both ways, and steps outside. She beckons to Mary Robert, who appears from behind her. Mary Robert looks very wary. Christy pulls her along.", "EXT. A STREET NEARBY Christy and Mary Robert walk along a street a few blocks from the convent. MARY ROBERT -LRB- looking around cautiously. -RRB- Are you sure this is what Reverend Mother had in mind? CHRISTY I know it is. It's life. Experience. Take a deep breath. Christy breathes deep, and then lets out a whoop. She spins, letting her habit billow around her. MARY ROBERT -LRB- shocked. -RRB- Mary Clarence! CHRISTY Now you. Mary Robert's eyes widen. She points to herself - `` Me?'' Christy nods. Mary Robert lets out a tiny little whoop, and does a little, timid hop. CHRISTY It's a start.", "EXT. SOCIAL CLUB A neighborhood hang - out, the windows bright with neon beer signs. The exterior is colorfully painted ; the club all but explodes with good times. A group of teenagers lounge on the steps, sipping beers and smoking. Among the teenagers are the girls from Christy's Christian Youth group. Christy and Mary Robert approach, and the group falls silent. CHRISTY How are you doing. LAWANDA -LRB- puzzled. -RRB- Hey, Sisters. Are you going in there? CHRISTY You know it. MARY ROBERT We need experience. CHRISTY -LRB- remembering she's a nun. -RRB- It's part of St. Katherine's new community outreach program. How old are you? You should n't be smoking. Have you ever seen a diseased lung? Hand'em over. Lawanda reluctantly hands over her cigarettes. Christy turns to a TEENAGE BOY who's drinking beer. CHRISTY And you, with the devil's brew passing through your lips. -LRB- holding out her hand. -RRB- A mind is a terrible thing to waste. The boy hands over the beer. Christy and Mary Robert enter the club.", "INT. SOCIAL CLUB Christy enters the club and grins. She takes a drag on the cigarette. Mary Robert grabs the beer from Christy's hand, and takes a swig. CHRISTY -LRB- shocked. -RRB- Bobs MARY ROBERT Experience! Right? CHRISTY Right. The club is alive with activity ; the bar is crowded, couples are making out at small tables, and the dance floor is packed. The atmosphere is a combination of hazy darkness and colored lights ; the club should have the feeling of a hot neighborhood party, with people of all ages and races. The MUSIC percolates, and Christy starts to move to it. She and Mary Robert find a table in the corner, and signal a nearby waitress. CHRISTY A couple of bowls of chili. -LRB- holding up the beer. -RRB- And another round of these. The waitress looks at the two women strangely ; the club has never hosted nuns before. MARY ROBERT -LRB- to the waitress, confidentially. -RRB- I have to do this. So I can become a nun. CHRISTY -LRB- to the waitress. -RRB- Initiation. You understand. Later on, we make her wear her underwear on her head. MARY ROBERT Really? CHRISTY -LRB- to the waitress. -RRB- And she wants to be a nun. The waitress leaves, shaking her head. Christy and Mary Robert watch the action at the club. Across the room, MIKE the bartender stares at the nuns, especially Christy ; he tries to place her. MARY ROBERT Who are all these people? CHRISTY This is your neighborhood. Your turf. You should get to know'em. From across the room, Mike the bartender continues to study Christy's face. He takes out a copy of Vince's fax photo and stares at it. He covers Christy's hair in the photo with his hands, creating a wimple. There is no question in his mind ; the two are the same. Mike has a dangerous look in his eyes as he takes a gun from the drawer and slips it into his pocket beneath his apron. There is a LIVE BAND on a small stage at one end of the club. They start playing a hot dance number, and the club really begins to cook, as the dance floor fills. Christy and Mary Robert, both still seated, start to move with the music. A very good - looking LOCAL DUDE comes over to the nuns table. He is clearly amused at their presence. DUDE Hey, Sisters - how you doin'? CHRISTY -LRB- flirting. -RRB- Better now. DUDE How come they let you out? Out of that convent place? CHRISTY Time off. For bad behavior. DUDE Oww! A nun havin' fun! I do n't believe it! It's good to have you ladies in this fine establishment. So. anybody on the move? MARY ROBERT -LRB- standing up. -RRB- I am. CHRISTY Bob! What're you doing? Mary Robert leads the Dude out onto the dance floor. MARY ROBERT I'm getting experience. CHRISTY -LRB- to the Dude. -RRB- You watch yourself! Christy decides she'd better keep an eye on Mary Robert ; she grabs another DUDE, and heads for the dance floor. As the music percolates, Christy and Mary Robert dance ; Christy is very hot, and Mary Robert picks up on her moves. The CLUB PATRONS are delighted, and cheer as the nuns start to get down. CLUB PATRON #1 Do it, Sisters! CLUB PATRON #2 Sway and pray! As the song, and the nuns' exuberant dancing, peak, the Club Patrons cheer, shouting `` Hallelujah!'' and `` Amen!''", "EXT. STREET - NIGHT Christy and Mary Robert are walking back to the convent. They are both in very good spirits. MARY ROBERT Those people are wonderful! Why do n't we ever see them in church? CHRISTY Good point. Especially that dude you were with. I'd like to see him down front. MARY ROBERT -LRB- giggling. -RRB- Mary Clarence! You're so. different from the other sisters. Sometimes, well. sometimes you sound more like a layperson. CHRISTY Honey. As the two women laugh together, they do n't notice the car that begins to follow them, creeping slowly forward with its headlights out. MARY ROBERT I ca n't wait to tell Reverend Mother about all my experiences. I've learned so much. CHRISTY Well, you know, you do n't have to tell her everything. I mean, nothing really happened. We just. took a walk. The car's bright lights suddenly switch on, and the nuns turn, startled. The car hurtles toward them. They scream, and Christy grabs Mary Robert and throws her out of the car's path ; the two women land on a pile of garbage bags. Struggling to her feet, Christy sees the car go into reverse, and then pull forward again. She sees a glint of light reflect off a gun as the car's driver -LRB- Mike the bartender -RRB- leans out the window. CHRISTY -LRB- to Mary Robert. -RRB- Run! Christy shoves Mary Robert towards an alley. As she does so, the gun GOES OFF with a red flash. The shot misses the two women and SHATTERS a plate glass window of the store behind them.", "EXT. ALLEY Running up the alley, Christy and Mary Robert hear Mike's FOOTSTEPS chasing them, growing louder as he gains on them. MARY ROBERT Mary Clarence! CHRISTY Keep moving! Christy grabs the ladder of a fire escape, and shoves Mary Robert up the ladder ahead of her. CHRISTY Climb! Now! As Christy and Mary Robert climb the fire escape, another GUNSHOT ECHOES in the alley, ricocheting off the fire escape. The nuns climb higher up the building. Mike pursues, looking for a shot between the steps and the landings, but not finding any openings. He takes the steps two at a time and begins to gain ground. At the fourth floor landing, Christy's heel gets stuck in the grating. She pulls frantically at the laces. CHRISTY Goddamn it! MARY ROBERT Mary Clarence! Mike arrives at the landing just as Christy twists her toot out of the shoe, and surprises him with a lunge for the gun. Mike's hand is knocked back against the metal frame of the fire escape, and the gun flies loose, RATTLING down the metal steps to the landing below. Christy shoves Mary Robert into the open window of an apartment, and follows her in.", "INT. TENEMENT APARTMENT Christy and Mary Robert leap into the bedroom of an Hispanic couple, their arms wrapped around each other in bed. At the women's entrance, the couple looks up, stunned to see two nuns in their bedroom. MARY ROBERT Oh my Lord! CHRISTY -LRB- pushing Mary Robert forward. -RRB- Experience! The couple continues to look stunned as the nuns race out of the room.", "EXT. CONVENT - NIGHT Christy and Mary Robert run up to the side door of the convent ; they catch their breath. MARY ROBERT What was all that? Who was that man? Why would he shoot at us? CHRISTY I do n't know, some people just do n't like nuns. I wish I had a ruler. MARY ROBERT We could have been killed! But you saved me! -LRB- throwing her arms around Christy. -RRB- Thank you, Mary Clarence! The door to the convent swings open. Mother Superior is waiting. MOTHER SUPERIOR Yes - thank you so much.", "INT.CONVENT CORRIDOR - DAY Christy sits alone outside Mother Superior's office, listening to the loud TICKING of the clock on the wall. She seems small and vulnerable, like a child sent to the principal's office. The door opens and Eddie emerges from the office. CHRISTY What'd she say? EDDIE You blew it - big time. She does n't want you back. CHRISTY Does she know people are trying to kill me out there? EDDIE She's counting on it. She's concerned for your safety, but she wants me to try and find another convent that will take you. Or a carnival. CHRISTY So what am I supposed to do in the meantime? EDDIE Go in and talk to her. It ca n't hurt. -LRB- urging her. -RRB- Go. Reluctantly, Christy rises and approaches the door. She looks at Eddie, who motions her to go in. She finally does.", "INT. MOTHER SUPERIOR'S OFFICE Mother Superior is working on some papers at her desk as Christy enters. Christy is trying to figure out a strategy. CHRISTY So. hi there. MOTHER SUPERIOR -LRB- not amused and not looking up. -RRB- I do n't believe we have anything to say to each other. CHRISTY Look. I know I should n't have, I'm incredibly sorry about Mary Robert, I was n't thinking, I did n't know that would happen! Mother Superior glances up from her work. She is justifiably outraged. MOTHER SUPERIOR Mary Robert's life was in danger! Your behavior was inexcusable! CHRISTY I know! I'm sorry I did n't mean for it to happen! And I was the one they were shooting at! MOTHER SUPERIOR Mary Clarence, I have given you every opportunity. To change. To make a decent life for yourself. CHRISTY A decent life? Excuse me? As what? A janitor? MOTHER SUPERIOR Clearly, you have learned nothing. And you present an ongoing threat, both to this convent and to yourself. CHRISTY But you ca n't kick me out! Guys want to kill me! You're a nun! A big nun! Are n't you supposed to have compassion? For the wayward sheep? I mean, I'm a major sinner! All - time great! Hall of Fame! Are n't I, like, your dream come true? Your Olympic event? Mother Superior stares at Christy. MOTHER SUPERIOR Mary Clarence, perhaps you are correct. CHRISTY -LRB- surprised. -RRB- I am? MOTHER SUPERIOR You may stay. But I shall restrict your activities to but a single task. CHRISTY -LRB- with great dread. -RRB- What? MOTHER SUPERIOR You have, I believe, some minimal background in music. Therefore, you are to join our choir. You will sing, and you will sleep,' that is your schedule until you depart. As almost no one attends Mass, you will be unable to cause further damage. CHRISTY No. No. MOTHER SUPERIOR -LRB- smiling. -RRB- You're my Olympic event. CHRISTY Not the choir, please, anything but that. The choir - I mean, have you heard them? I'll do anything, scrub floors, toilets, you name it, but not that I MOTHER SUPERIOR -LRB- in triumph. -RRB- The choir, Mary Clarence. Go for the gold.", "INT. CHOIR REHEARSAL ROOM - THAT DAY There are twelve nuns in the room, going over sheet music. Mary Lazarus is the group's leader ; Mary Patrick and Mary Robert are also in the choir. Christy appears at the door, grimacing. CHRISTY Is this. choir practice? MARY PATRICK Sure is! Come on in, and sing a spell. Christy spots Mary Robert. CHRISTY Mary Robert, I am so sorry about last night. MARY ROBERT Now stop that. You did n't shoot at me. You were only trying to help, to give me experience. I tried to explain that to Reverend Mother, but - I do n't know if she understood. Mary Lazarus cuts off this chitchat, thrusting a hymnal at Christy. MARY LAZARUS Soprano or alto? CHRISTY -LRB- very gloomy. -RRB- Whatever. Mary Lazarus hands Christy a hymnal, and raps her baton. The choir begins to sing ; Christy does n't even bother trying. She is horrified ; the choir is the worst - sounding group in history. They seem to be singing in several random keys, and they even have trouble with the words. No one looks up from their hymnals. Sister Alma, the organist with the hearing aid, is plodding along.", "INT. BLUE COLLAR BAR - DAY Mike the bartender is taking chairs off tables and setting them on the floor as Joey and Willy enter. JOEY We're looking for Mike. MIKE You found him - but we're not open yet. Willy grabs Mike's arms and bends them behind his back. MIKE Hey - the till's empty! Willy slams Mike's face into the wall, stunning him. Joey lifts Mike's groggy face and offers sympathy. JOEY I'm sorry - I do n't know what gets into him. MIKE Who are you guys? JOEY We're the guys from Vegas. You had Christy last night, but you let her get away. It's upsetting. Willy hammers Mike's face into the wall again. MIKE But you did n't tell me! JOEY We did n't tell you what? MIKE That she's a nun! That chick you're looking for - she's a nun! WILLY What? Christy? JOEY A nun? MIKE I'm telling you! Willy and Joey look at each other, and consider this. Then they burst out laughing. They refuse to believe Mike's story. WILLY Gim me a hand here. Willy and Joey pick Mike up, and hurl him over the bar. Then they exit, still laughing. JOEY A nun!", "INT. CHOIR REHEARSAL ROOM - DAY The choir continues its dreadful rendition of the hymn Let Thy Thoughts He Guided. Christy is not singing ; she is clearly in pain. Mary Lazarus stops the song. One of the nuns has to nudge Sister Alma to stop her playing. MARY LAZARUS Mary Clarence, are you with us? CHRISTY Um, I do n't really know this one. MARY ROBERT Mary Clarence has a background in music. That's what Reverend Mother said. MARY PATRICK -LRB- eagerly. -RRB- Really, Mary Clarence? Were you a choirmistress? CHRISTY Sure. Kind of. free - lance. MARY LAZARUS -LRB- circling Christy. -RRB- Free - lance? Oh really? You think I do n't see? You think I took vows yesterday? I know what you're up to. You and Reverend Mother. CHRISTY What? MARY LAZARUS You're a ringer. She brought you in to replace me. Out with the old. CHRISTY Hold on. MARY PATRICK Mary Clarence, could you? Mary Lazarus, you're terrific, but. -LRB- to Christy. -RRB- Could you help us? ANOTHER NUN Please? ANOTHER NUN You've heard us. MARY LAZARUS Well. Everyone falls silent. Mary Lazarus walks across the room, eyeballing each member of the choir. MARY LAZARUS There's a word for this - mutiny. -LRB- to Christy. -RRB- So, Mary Clarence, you think you can do better. I believe I'd like to see that. -LRB- she hands Christy her pitchpipe and baton. -RRB- I'm out to pasture. Dry dock. The glue factory. Go ahead, Sister - make'em sing. Everyone watches Christy. CHRISTY Well. -LRB- to Nary Lazarus. -RRB- With all due respect. let's have a look at this. Christy goes over to the piano. She examines the sheet music for `` Let They Thoughts He Guided.'' She sits at the piano, beside Sister Alma. Christy picks out the hymn on the piano, accompanying herself. CHRISTY LET THY THOUGHTS BE GUIDED LET THY SOUL BE HEALED Christy's singing voice is, as usual, not very good. She stops singing. For perhaps the first time in her life, she has really heard herself. CHRISTY Man. I sound like you guys. MARY LAZARUS -LRB- victorious. -RRB- Very nice. Sisters, have we learned our lesson? I wo n't hold this little episode against anyone. I'll try not to. CHRISTY -LRB- standing. -RRB- Mary Robert. Mary Robert jumps, startled by the attention. MARY ROBERT What? CHRISTY Mary Robert, I've watched you. You never really sing. You whisper. Nothing comes out. MARY ROBERT I do n't want to mess anyone up. CHRISTY -LRB- to Sister Alma. -RRB- Give me a C. -LRB- because Sister Alma is hard of hearing. -RRB- A C! Sister Alma plays the note. Christy points the baton at Mary Robert. Mary Robert whispers the note. CHRISTY Louder! Like you're onstage. Mary Robert sings a little louder. CHRISTY Like people are eating, and there's silverware, and you want them to hear you. Mary Robert sings louder still. CHRISTY Think about that guy you were dancing with! Mary Robert finally lets out her full voice, which is huge and glorious. After singing a single perfect note, she stops abruptly ; she has scared herself. MARY ROBERT Oh my! CHRISTY You see? We've got the voices. They're just allover the place. I've heard all of you, in the shower - you're decent. Better than me. We just need charts - harmony - chops. MARY PATRICK -LRB- puzzled. -RRB- Chops? CHRISTY The goods. The sound. The sale. Let's rearrange a few things. Mary Patrick, you re not a natural soprano, you're an alto. Get over here. Mary Robert - with the sopranos. The two nuns trade places. CHRISTY Sister Alma - a C. Sister Alma plays the note, and the nuns try to duplicate it, but the results are n't much better than before. Christy uses her pitchpipe ; she circulates among the nuns, giving each her note, urging them closer to pitch. CHRISTY Middle section, hold that note, for dear life. Sopranos, an A. Sister Alma? Sister Alma hits the note. Christy shuffles a couple of more nuns to other sections, then gets a third note going with the altos, using her pitchpipe. For one moment, the nuns all realize they are singing a perfect chord. They are elated. MARY PATRICK We did it! We actually sang a chord! MARY ROBERT -LRB- thrilled and disconcerted. -RRB- That was exciting! CHRISTY Yeah, for one second. That was the blend - you've got to listen to each other. Be a group. MARY LAZARUS -LRB- under her breath. -RRB- I knew that. CHRISTY Mary Lazarus, I get the feeling that you like discipline. Hard work. MARY LAZARUS Of course. I'm a nun. Four Popes now. The Lord hates a loafer. CHRISTY I hear you. How many days a week do you rehearse? MARY PATRICK Two days. An hour or so. CHRISTY No way. We're a choir, right? Headliners. The big room. Two days a week wo n't cut it. Every day. MARY LAZARUS -LRB- impressed. -RRB- She's good. MARY ROBERT -LRB- to Christy. -RRB- Do you really think we could do it? Get better? CHRISTY I do n't know. Mary Lazarus, what do you think? They're pretty raw. MARY LAZARUS Wet behind the ears. CHRISTY A bunch of real mama's girls. MARY PATRICK Oh, please? Ca n't we try? Christy and Mary Lazarus look at each other, as real comrades. Christy leans on Mary Lazarus' shoulder. CHRISTY It'll be hell. MARY LAZARUS Tell me about it. Christy and Mary Lazarus shake hands, firmly. Christy turns to the choir, very businesslike. CHRISTY Ten - hut!", "INT. CONVENT LAUNDRY ROOM - DAY This is a basement utility room. A large industrial washer - dryer stands along one wall ; the machine makes a repetitive CHUNG - CHUNG sound The choir nuns are busily doing laundry ; some iron, others fold sheets, others stack towels and garments on a long table. Christy is helping Mary Patrick fold a sheet. Everyone is working rhythmically, to the drone of the washer - dryer. CHRISTY That machine. MARY PATRICK I know. It's ancient. CHRISTY It's a rhythm section. The beat. Christy starts clapping her hands to the sound of the washer - dryer ; gradually, the other nuns join her. CHRISTY Mary Patrick - do you remember the Dixie Cups? MARY PATRICK The Dixie Cups? Oh my. I was just a girl. Of course. -LRB- singing. -RRB- SPRING IS HERE THE SUN WILL SHINE CHRISTY -LRB- stopping the beat. -RRB- Hold it. Mary Patrick, you're a pretty cheerful person, are n't you? MARY PATRICK Am I? There is a murmur from all the other nuns - `` Oh, yes. MARY PATRICK -LRB- as a confession. -RRB- All right, I am, I know it! All my life, I've just been. upbeat. Optimistic. Perky. I ca n't help it. Even when I was little, I remember my mother used to say, `` That child is pure sunshine. She'll either be a nun - or a stewardess.'' CHRISTY So use it. When we sing hymns, they're usually about rejoicing, right? Celebration. Most music is. So do n't hold back. Let all that joy go right into your voice. Make me happy. Let me hear it. Perk out. Perk down. MARY PATRICK -LRB- with real joy. -RRB- SPRING IS HERE THE SUN WILL SHINE I'LL BE HIS AND HE'LL BE MINE WE'LL LOVE UNTIL THE END OF TIME AND WE'LL NEVER BE LONELY ANYMORE CHRISTY Because we're ALL THE NUNS GOING TO THE CHAPEL AND WE'RE GON NA GET MARRIED GOING TO THE CHAPEL AND WE'RE GON NA GET MARRIED GOING TO THE CHAPEL AND WE'RE GON NA GET MARRIED MARY PATRICK GOING TO THE CHAPEL OF LOVE! The nuns have really gotten into the song, with Christy encouraging them verbally. They are sounding better and better. SISTER MARY FREDERICK, a member of the choir, steps into the laundry room and lets loose with a sudden, piercing whistle. The nuns immediately stop singing, and a moment later Mother Superior enters. The room is quiet except for the sound of the washer - dryer. The nuns all get very busy at their laundry tasks. NUNS -LRB- in unison. -RRB- Good morning, Reverend Mother. MOTHER SUPERIOR Good morning, Sisters. Mother Superior takes one more glance around, then leaves. Now that the coast is clear, the singing begins again, quietly, to the rhythm of the machine. NUNS GOING TO THE CHAPEL.", "INT. CHAPEL Bishop O'Hara is leading the Sunday Mass.. BISHOP O'HARA Welcome this Sunday morning, 0 ye few and faithful. As usual, the chapel is almost empty, except for the nuns. The choir is in place behind the pulpit. BISHOP O'HARA The choir, I am told, has elected a new director - Sister Mary Clarence, who will lead them in Hymn 127. Christy nods to the Bishop, and signals to Sister Alma, who begins the accompaniment. CHOIR LET THY THOUGHTS BE GUIDED LET THY SOUL BE HEALED They sound fantastic. Their voices blend with a heavenly harmony as they sing the slow, melodic hymn. Mother Superior is startled by this new sound.", "EXT. STREET Lawanda and her friends glance at the convent with curiosity as the beautiful MUSIC drifts out to the street. A few other heads turn, but with only mild reactions.", "INT. CHAPEL At the end of the first verse, Christy signals the choir to stop. There's a hush in the chapel as Christy glances at the vacant pews. Then she turns to Sister Alma and nods. Sister Alma strikes a bold, stirring chord. Several of the nuns blink. Bishop O'Hara glances at the organ with surprise. Mother Superior sits up with a stiffened back and a severe expression. As the chord grows in force, Christy gives the choir a beat. CHRISTY One, two, three. The choir begins a radically new version of the same hymn. Christy strides up and down in front of the choir, transforming the song into a rousing gospel anthem, with a passionate call - and - response format. CHOIR LET THY THOUGHTS BE GUIDED CHRISTY What you say? CHOIR LET THY SOUL BE HEALED CHRISTY But how? CHOIR BY A VOICE YOU HEAR FROM ON HIGH CHRISTY I think I hear it! CHOIR LET THY THOUGHTS BE GUIDED CHRISTY You know, I just might! CHOIR LET THY SOUL BE HEALED CHRISTY AND CHOIR LET THY SPIRIT TAKE WING AND FLY! Spontaneous reactions from everyone in the church.", "EXT. STREET The gorgeous, exciting MUSIC pours into the street. Everyone turns to look. Windows open and people glance out. The street takes on a new movement.", "INT. CHAPEL The choir really lets loose flow. CHRISTY AND CHOIR LET THY THOUGHTS BE STRENGTHENED LET THY PRAYERS BE HEARD LET OUR LORD REJOICE IN YOUR PRAISE LET HIS GOODNESS LIFT YOU TO A HIGHER PLACE AND LET LOVE AND PEACE FILL YOUR DAYS Lawanda and her friends peer in at the back door of the chapel. Bishop O'Hara sees them, and beckons them to come in. CHRISTY Sister Alma! Sister Alma, inspired by Christy and the choir, burns up the organ with a solo. More people from the street begin to enter ; tentative, curious, drawn by the music. At the end of the solo, Christy makes a gesture to the choir, and each member produces a tambourine. The chapel is full of energy, music and life. CHRISTY Mary Robert! Mary Robert sings, really letting the power of her voice ring out. She is astonishingly good. MARY ROBERT LET THY THOUGHTS BE GUIDED LET THY SOUL BE HEALED BY A VOICE YOU HEAR FROM ON HIGH LET THY THOUGHTS BE GUIDED LET THY SOUL BE HEALED LET THY SOUL TAKE WING AND FLY! The new visitors to the church begin to clap in rhythm to the music, and after a few beats, the nuns join in. Mother Superior is aghast. The choir builds to a huge gospel finish, all keeping their eyes on Christy. CHOIR LET THY SPIRIT CHRISTY You know what we're saying! CHOIR LET THY SPIRIT CHRISTY I think they hear you! MARY LAZARUS LET THY SPIRIT CHRISTY AND CHOIR LET THY SPIRIT TAKE WING AND FLYI After the final note, everyone in the chapel is exhilarated - everyone except Mother Superior. Christy looks out at the congregation that has increased by a dozen or more, including Lawanda and her friends. Christy looks happier than she has in years.", "INT. CORRIDOR - DAY The members of the choir are all gathered outside Mother Superior's office, leaning close to the door and listening to her harangue Christy. They are surprised to find themselves joined suddenly by Bishop O'Hara, and part to let him through. He leans down to the keyhole and listens.", "INT. OFFICE Mother Superior is livid. MOTHER SUPERIOR Gospel. A jazz solo on the organ. What next? Jesus goes to Rio? Good Friday - a - go - go? What were you thinking? CHRISTY I was thinking Las Vegas. Get some butts in those seats. MOTHER SUPERIOR And what next? Popcorn? Curtain calls? This is not a theater. or a casino. CHRISTY -LRB- sincerely. -RRB- Exactly. People like going to theaters and casinos. But they think church is for Grandma - we could change that. Pack the joint. MOTHER SUPERIOR Through blasphemy? You have corrupted the entire choir! CHRISTY Hold on. That's not fair. I worked hard with them. They gave up their free time, and they loved it. Those women are happy. And we can get even better. We can wake this place up. MOTHER SUPERIOR Out of the question. CHRISTY Please let me try. I'm begging you. MOTHER SUPERIOR And I am refusing. As of tomorrow, Mary Lazarus will resume her leadership of the choir. Christy is crestfallen. There is a KNOCK on the door, and O'Hara enters. The other members of the choir are in behind him like sardines. BISHOP O'HARA Reverend Mother, I just wanted to congratulate you. MOTHER SUPERIOR Oh? BISHOP O'HARA I have n't enjoyed Mass this much in years. What a marvelous program. Innovative. Inspiring. You are to be commended. MOTHER SUPERIOR Well. thank you. BISHOP O'HARA I ca n't wait until next Sunday, when the choir performs again. Did you see the people walk right in from the street? That music, that heavenly music - it called to them. MOTHER SUPERIOR Perhaps. BISHOP O'HARA I must tell the Cardinal. I. 11 send him a personal letter, describing your efforts, your bold new fight to keep your little convent alive. MOTHER SUPERIOR Really? Christy has just been eating this up with a spoon. CHRISTY Excuse me, Bishop. Reverend Mother has some other ideas too. She's too modest to talk about it, but she thinks we should get out of the convent and into the neighborhood more. -LRB- putting her hands on Mother Superior's shoulders. -RRB- This woman. Mary Patrick jumps forward. MARY PATRICK Bless her! There are so many problems in this neighborhood that we could help solve. That's why many of us became nuns. It's marvelous, Reverend Mother. MOTHER SUPERIOR -LRB- confused by the turn things have taken. -RRB- Really. CHRISTY -LRB- with regard to Mother Superior. -RRB- You know Reverend Mother. Hides her light under a bushel. She has plans for us to move right onto the streets. Get to know people. Work with'em. BISHOP O'HARA -LRB- to Mother Superior. -RRB- You're a pioneer. MOTHER SUPERIOR But, Bishop, surely you realize - this is a most dangerous neighborhood. O'HARA And you'll face that danger head - on. As if I could stop you. And you have my complete support in this matter. Anything you can do to revitalize this neighborhood would be a blessing. CHRISTY -LRB- hugging Mother Superior from behind. -RRB- Do n't you love her?", "EXT. CONVENT - DAY The nuns are out in force, painting the walls of the convent, mostly with rainbows and flowers and bright, shining suns. The CAMERA PANS to Christy, who is adding her own original touch to the mural, using cans of spray paint. Christy's section includes an image of a nun in a miniskirt and spike heels, accompanied by neon letters that read `` St. Kate!'' People gather in the street, watching the nuns' activities. The convent begins to crackle with energy and life. A drug deal is going on in a house up the street, but the DEALERS give only a curious glance to the action at the convent.", "INT. MOTHER SUPERIOR'S WINDOW From the window of her office, Mother Superior watches the painters and feels her control slipping away.", "EXT. STREET - LATER Christy leads the members of the choir down the middle of the street. They get lots of attention each step of the way. As each nun raps, the other nuns make rhythmic boom - box noises. CHRISTY -LRB- rapping. -RRB- WE'RE THE SISTERS OF THE SACRED HEART WE DO OUR BIT, NOW DO YOUR PART MARY ROBERT -LRB- rapping. -RRB- HONOR THY MOTHER AND THY FATHER TOO DO N'T KILL, DO N'T STEAL, IT'S BAD FOR YOU MARY PATRICK -LRB- rapping. -RRB- BELIEVE IN THE LORD, HIS WILL BE DONE COME TO CHURCH, IT'S TONS OF FUN MARY LAZARUS -LRB- rapping. -RRB- DIG DOWN DEEP, GIVE ALL YOU CAN TRUST ME, CHILDREN, THERE'S A HEAVENLY PLAN! The parade goes on, the crowd gathers, and a general air of jubilance prevails.", "INT. REHEARSAL ROOM - DAY The rehearsal room is filled with high energy as the choir is separated into several groups. Christy has got the whole thing running like a disciplined Broadway cast. Mary Patrick leads one group in the corner as they practice synchronized movements with tambourines. Colorful streamers are tied to the tambourines, and they make colorful patterns in the air. Sister Alma pounds the piano with newfound energy, as Mary Robert and the sopranos reach higher and higher for notes they've only dreamed of in the past. Christy and Mary Lazarus have corralled the rest of the nuns into a practice of intricate dance steps, somewhat like the Temptations in skirts. Mary Lazarus keeps the beat with a yardstick. CHRISTY Do n't look at your feet, and I do n't want to see anybody counting. Make it look easy. Again! MARY LAZARUS Right, right, cross with the left, spin and turn! CHRISTY Hopeless I MARY LAZARUS Amateurs 2 CHRISTY Babies MARY LAZARUS Again!", "EXT. CRACK HOUSE - NIGHT One of the drug dealers stands outside the crack house as a car suddenly pulls up to the curb. He starts toward the car as the DRIVER rolls down the window, but before he gets there, Christy and several nuns surround the car. CHRISTY We're here to pray for you, brother. DEALER What? Get the hell out of here. CHRISTY We know you do n't want to sell drugs. You just had an unhappy childhood, and maybe a learning disability. You just need someone to pray for you. MARY PATRICK We know you do n't want to bring pain and misery to your friends and neighbors. We'll pray to find you some honest work. CHRISTY And we know that, even though most people would call you a leech and a parasite, the lowest slug of humanity! We know that deep down inside, you're probably even worse. And so you truly need our prayers. DRIVER What is this? Outta my way! The nuns give him room, and the Driver zips off down the street. A small crowd has begun to gather, and it is growing by the moment, murmuring encouragement for the nuns. Christy turns to the Dealer, as other cars drive slowly past. CHRISTY Yes, prayer is the answer, and prayers free We're going to give free prayers to everyone who drives up to this house. MARY ROBERT -LRB- to the Dealer. -RRB- We're nuns! MARY PATRICK -LRB- to cruising cars. -RRB- Free prayers right over here! Drive up and get your prayers! DEALER You're hassling my customers! That's not legal! I know my rights. This is restriction of trade. CHRISTY You wan na call a cop? The Dealer's eyes turn ugly as he takes a gun from his pocket. Mary Patrick steps forward. MARY PATRICK Are you going to shoot us all, tough guy? MARY LAZARUS Is it worth it? A lot of witnesses here. CHRISTY -LRB- to the crowd. -RRB- Can I get a witness? The Dealer glances at the surly crowd, then gives the nuns a disgusted look. He puts the gun away. DEALER So I'll find another neighborhood to do my business. You can' t stop me. CHRISTY If we can stop you here, they can stop you there. The Dealer turns and walks back to his house with anger. The crowd APPLAUDS and CHEERS. The picture suddenly becomes GRAINY, and we hear the voice of a NEWS REPORTER. NEWS REPORTER -LRB- V. 0. -RRB- It was a truly remarkable scene, as the nuns from St. Katherine's literally drove the crack dealers from the neighborhood, led by the feisty Sister Mary Clarence. CAMERA PULLS BACK and we see a TV screen with an image of the nuns and neighbors still celebrating. On top of the TV are several framed photographs of Vince Laflocca, his wife and children.", "INT. VINCE LaROCCA'S LIVING ROOM - NIGHT CONNIE LaROCCA, Vince's wife, watches the TV NEWS STORY and calls to Vince in the kitchen. CONNIE Vinnie, get in here. You got ta see this! Carrying a roast beef sandwich and a can of beer, Vince appears from the kitchen and glances at the TV screen to see a shot of the convent. He looks at Connie and makes a sour face. VINCE What? Nuns? You got me in here to see nuns? Is n't there a ball game on or something? Vince turns away from the TV just as a closeup of Christy appears on the screen. CONNIE Look - she's adorable! Vince leaves the room, and we see Christy again as she leads the choir.", "INT. EDDIE'S APARTMENT - NIGHT Eddie is cooking spaghetti in his efficiency apartment and watching the NEWS on TV at the same time. He pours himself a glass of wine and stirs the spaghetti sauce. NEWS REPORTER This tiny convent has experienced an amazing turnaround. The sisters have revitalized and taken back their neighborhood, all due to the energy and talent of the convent choir, a group led by this gifted young nun. Tell us, Mary Clarence1 what makes you so special? CHRISTY -LRB- trying to appear modest and nun - like. -RRB- Oh, I'm not special, Bob. It's just hard work. and prayer. Eddie all but spits out his wine. His eyes are wide as he watches Christy being interviewed. In one stride, he grabs his hat and coat and is out the door on the run.", "EXT. CONVENT - DAY The Sunday morning bell is CHIMING as crowds of people stream into the convent. The entire neighborhood looks cleaner, and the people walk with a spring in their step. Three local TV stations have remote news crews on the scene doing follow - ups on the story.", "INT. CHAPEL HALLWAY Last in line, Christy follows the other choir members down a hallway toward the chapel. Suddenly, a hand reaches out and grabs her, and a second hand covers her mouth as she is pulled into an empty cell.", "INT. CELL Shocked and terrified, Christy struggles to free herself, but is suddenly relieved to see that her abductor is Eddie. Eddie releases her, and she falls onto the bed. CHRISTY Eddie! You scared the hell out of me! EDDIE What if I was Vince? You'd be dead right now. What are you doing giving interviews on TV? CHRISTY It was n't my fault! They just showed up. It's helping the convent. EDDIE You're supposed to be hiding out! CHRISTY I really ca n't talk about it now. The place is packed. SRO. I've got a show to do. EDDIE Listen to yourself. This is n't a career opportunity. CHRISTY I know that. This is n't about me. It's about the choir. You should hear them. They're good. Really good. And I taught them. EDDIE Jesus, look at you You're glowing. CHRISTY I am? EDDIE Yeah. You look. great. I mean it. CHRISTY -LRB- flirting. -RRB- Really? Lieutenant? EDDIE I've been worried about you. Eddie sits on the bed beside Christy. CHRISTY You mean - worried about my testimony? EDDIE No - worried about you. Personally. CHRISTY Well. thanks. I've been thinking about you. - sometimes. I mean, there are n't a lot of guys around here. I mean, sometimes I feel like. a nun. EDDIE Me too. CHRISTY You're not. seeing anybody? EDDIE No. Most of the time I'm thinking about you. And now. you've really changed. CHRISTY I have? EDDIE You re sort of. radiant. your eyes are shining. You're rea1ly different. Eddie and Christy are gazing into each other's eyes ; they are just about to kiss. Their lips are less than an inch apart. EDDIE You're. you're a nun. Eddie and Christy jump apart, their intimacy has frightened them both, particularly given Christy's outfit, and their location. CHRISTY We're in a convent! Christy goes to the door. CHRISTY I've got to go. EDDIE Just remember - you're a target. Do n't you think Vince has a T.V? CHRISTY -LRB- trying to think straight. -RRB- I know, I know. I'll be careful. I'll try. Christy begins to leave, and then she turns, filled with a performer's excitement. CHRISTY Magic time! Christy hurries toward the chapel, leaving Eddie to shake his head and wonder.", "INT. CHAPEL Sister Alma plays the organ, and the choir hums quietly as Christy addresses the congregation. Cameras from several TV stations are focussed on her from various places in the chapel. CHRISTY This Sunday's hymn is inspired by the lesson of Mary Magdalene. You know the one. Mary Magdalene was a young lady with a past. She was no stranger to sin. She was no stranger to practically everybody. Many condemned her. The whole neighborhood. But one man refused to do so. One man said, hey now, wait a minute. Listen to the story. Sister Alma starts playing a doo - wop vamp. Mary Patrick and Mary Robert step forward from the choir, standing beside Christy the way the Ronelles used to do. CHRISTY Hey, girls. MARY PATRICK AND ROBERT Hail, Mary. CHRISTY Jerusalem is a real drag. Everybody hates me. MARY PATRICK AND ROBERT Oh - huh. CHRISTY People throw stones. They call me names. I mean, really. MARY PATRICK AND ROBERT Really. CHRISTY But - wait. MARY PATRICK What is it, Mary? CHRISTY That man - who is he? MARY ROBERT He's a carpenter. MARY PATRICK He's not like other guys. MARY ROBERT He's decent. MARY PATRICK He's kind. CHRISTY He's. dreamy. He's. CHOIR Yes, Mary? CHRISTY HE'S SO FINE. The full choir sings back - up while Christy, Mary Patrick and Mary Robert perform intricate girl group choreography. CHOIR DOO - LANG, DOO - LANG, DOO - LANG. CHRISTY/MARY ROBERT/ MARY PATRICK WISH HE WAS MINE THAT HANDSOME GUY OVER THERE THE ONE WITH THE WAVY HAIR Sister Alma is surrounded by several STREET KIDS who play guitar, bass and drums to accompany the organ and choir. Lawanda and her friends sit in a pew, moving joyously to the music. Eddie stands in the back of the chapel, watching a Christy he has never seen before. Christy is now glowing with happiness and confidence. As the song continues, we see the chapel is packed to the rafters. A tin bucket is passed around as a collection plate, and it overflows with money.", "EXT. CONVENT Church services are over, and happy people stream out of the convent, but they do n't hurry home. Standing in groups, they talk pleasantly and make plans for the day. There is a real sense of neighborhood up and down the block. Eddie comes down the steps, glances back at the convent, smiles to himself, then crosses the street to his car.", "INT. CHAPEL Christy and the choir stare at the collection plate that is filled with money. CHRISTY Jackpot! Two buckets MARY PATRICK This is so exhilarating! All week long, I ca n't wait till Sunday, when we sing. MARY ROBERT I'd rather sing than do anything! MARY PATRICK It's better than ice cream. MARY ROBERT It's better than springtime. CHRISTY It's better than sex! Everyone looks at Christy with astonishment. CHRISTY -LRB- catching herself. -RRB- I imagine. Everyone's attention suddenly turns to Bishop O'Hara as he approaches. O'HARA Better and better, Sisters, you are truly an inspiration. And I bear gladsome tidings. The choir gathers around O'Hara with curiosity. O'HARA I've kept the Cardinal informed of your progress in the neighborhood. He has been most impressed. And he has invited you to attend a special evening Mass at St. Matthew's Cathedral on Sunday night1 to sing for the Council of Cardinals. The choir reacts with an excited buzz : `` The Council of Cardinals!'' , `` What shall we sing?'' , etc.. Mother Superior appears, from the center aisle. MOTHER SUPERIOR That is indeed glorious news, Bishop. We will be honored to appear. And on such an occasion, I feel a completely traditional program will be best. CHRISTY What do you mean? MOTHER SUPERIOR The council of Cardinals is perhaps the most esteemed body in the entire Catholic church. They command the utmost respect. Your more. secular entertainment would be wholly out of place. MARY PATRICK But, Reverend Mother - everyone loves our new style. MARY ROBERT It's brought people back to the church. CHRISTY Is n't that why we were asked to sing for those Cardinals? MOTHER SUPERIOR I believe this can be settled by a simple vote. CHRISTY A vote? MOTHER SUPERIOR Of course. Mary Clarence, a convent is not a totalitarian state. Most major decisions are made by the membership as a whole. A membership that, I am certain, will vote in a rational and pious manner. All those in favor of allowing Mary Clarence to select a program? All the nuns look at one another. Then, slowly, one by one, they all raise their hands. Mother Superior is pure steel at this moment ; her expression betrays no emotion. Christy, on the other hand, is quite confused. CHRISTY But. wait a minute. MOTHER SUPERIOR The majority has spoken. BISHOP O'HARA Reverend Mother, as always, you are a true leader. Gracious and understanding. MARY ROBERT It will be wonderful, Reverend Mother. You'll see. MARY LAZARUS -LRB- gesturing to Christy. -RRB- She's a pro. CHRISTY What? MOTHER SUPERIOR I am certain the presentation will be a great success. Congratulations, Mary Clarence. And congratulations to you all. The nuns cheer, and cluster around Christy, chattering about the upcoming concert, as Mother Superior strides off.", "INT. MOTHER SUPERIOR'S OFFICE - DAY Seated at her desk, Mother Superior glances up as Christy enters. CHRISTY You sent for me? MOTHER SUPERIOR You have a phone call. Mother Superior continues with her paperwork as Christy picks up the phone. CHRISTY Hello? EDDIE'S VOICE Good news, kid. I pulled a few strings the judge has agreed to move the trial up. We'll be in court in a couple of days. With mixed emotions, Christy speaks softly. CHRISTY That soon? Mother Superior is a very interested eavesdropper. EDDIE'S VOICE Forty - eight hours - and you'll be a free woman. CHRISTY Great. That's good to hear. EDDIE'S VOICE Hey, do n't thank me or anything. CHRISTY Right, right - thanks. Christy hangs up the phone. She looks at Mother Superior. CHRISTY Hey - your prayers have been answered. I'm leaving. In just a couple of days. MOTHER SUPERIOR Really. Well, that makes two of us. CHRISTY What? MOTHER SUPERIOR I have submitted my resignation to Bishop O'Hara. Privately. I have asked to be relocated as soon as possible. CHRISTY But - why? MOTHER SUPERIOR I must go where I can be of use. CHRISTY But - there's so much more to do right here. And look, if it's about me, I mean, I'm gone. MOTHER SUPERIOR Indeed. After how long? A few weeks? I have been here thirty years. And yet, it would seem, I know nothing. CHRISTY But everything that's happening is good! You can be a part of it! MOTHER SUPERIOR A part of what? Mary Clarence, it is one thing to rabble rouse, to sweep into town and declare a holiday. You have raised the Sisters' expectations, you have excited and confused them. They imagine this neighborhood to be some sort of delightful ongoing block party. You and I know that life is not so simple. There will be disappointments. Rude shocks. And you will have vanished. How. fortunate. CHRISTY Okay, so I just got things started. But you could build on that. You could keep it going. MOTHER SUPERIOR I am sorry, Mary Clarence. I seem to have misplaced my tambourine. Good day, Mary Clarence. CHRISTY But. MOTHER SUPERIOR Good day. Christy, frustrated, leaves the room. Mother Superior looks up, she is truly torn, a proud woman unsure of her choices.", "EXT. CONVENT - NIGHT The moon casts shafts of silver light down to the courtyard of the convent. Most of the lights in the neighborhood are out at this late hour. CHRISTY'S VOICE -LRB- whispering. -RRB- Come on. I've got a surprise.", "INT. CONVENT KITCHEN - NIGHT The kitchen is dark, lit only by a flickering candle carried by Christy. Three more candles appear, carried by Mary Robert, Mary Patrick and Mary Lazarus. The door to the freezer opens, and light spills out. Christy removes several pints of ice cream and distributes them to the nuns. MARY ROBERT -LRB- delighted. -RRB- Ice cream! MARY PATRICK Mary Clarence - you should n't have. Where did you get this? MARY LAZARUS It's a sin. It's a wicked indulgence. Is this butter almond? Christy and the nuns sit on stools, enjoying their ice cream by candlelight. CHRISTY It's contraband. Do n't ask. But I wanted to give you a treat. A sort of. thank - you gift. MARY ROBERT A thank - you? For what? You're the one we should be thanking. MARY LAZARUS Is there any syrup? CHRISTY Well. see, at my old convent, I was n't always. real popular. I was sort of selfish and. not real helpful. Okay, I'll say it - I was n't much of a nun. But now, thanks to all of you. maybe I'm shaping up. MARY ROBERT Mary Clarence, do n't be silly. You're an example to us all. You've taught us so much. We're singing for the Cardinals, and then - who knows? Maybe the choir can travel - to schools, and nursing homes. MARY PATRICK Maybe we can get some of the local kids to sing with us. MARY LAZARUS We could cut a demo. Look for a label. CHRISTY -LRB- knowing she has to leave. -RRB- That's true, would n't that be great. Of course, we never know when things are going to change. Any one of us could be transferred to another convent, tomorrow. MARY ROBERT -LRB- worried. -RRB- Are you leaving us? CHRISTY -LRB- sincerely. -RRB- Oh no. We'll always be together. MARY LAZARUS That's what Diana Ross said. Christy and the nuns qiggle, and continue eating their ice cream, in a spirit of true friendship. Mother Superior watches this scene, hidden in the shadows by the door to the kitchen. She has begun to see Christy in a new light. She looks thoughtful, and walks off.", "INT. LAS VEGAS POLICE DEPARTMENT - DAY Tate sits at his desk in the detective room, reading the sports section. HENRY PARKER, the accountant for the police department, looks stressful as he enters the room and heads for Eddie's glassed - in office. Tate glances up as Parker passes his desk. TATE You're too late. Mulcahy just left. PARKER I need his signature on some things. They ca n't be processed without it. TATE Leave'em. He'll sign'em later. Parker looks annoyed - he does n't like deviations from procedure - but after a moment of indecision, he sets the file folder on Tate's desk and walks away. Tate finishes the newspaper and shoves it aside. Bored, looks at his watch, then flips the file folder open and glances at its contents ; routine money vouchers for equipment, supplies, etc.. Tate is about to close the folder and shove it aside when something catches his eye. TATE What the hell is this? He examines a money voucher for a generous donation to St. Katherine's Convent in San Francisco. It only takes a moment to put two and two together, and Tate scrambles for his phone and dials a number.", "INT. CORRIDOR Henry Parker waits for the elevator. When it opens, he's surprised to see Eddie step out. PARKER Tate said you were gone. EDDIE I get all the way down to my car, and, of course - where are the keys? PARKER I left the money vouchers with him. He said you'd sign them in the morning. Eddie nods and moves on as Parker enters the elevator. After a few steps, Eddie suddenly looks disturbed. He picks up his pace. A little panicky, he begins to jog toward the squad room.", "INT. VINCE'S OFFICE Vince is on the telephone. He signals Joey and Willy, and they move quickly toward him. VINCE This is it. Get ready to move. No mistakes. Grab her, get her to the Moonlight. We meet there, and we take care of her. -LRB- into phone. -RRB- We're on it. Give me the address. Vince begins to write down the address.", "INT. SQUAD ROOM Tate is hunched over the telephone, talking quietly with his back to the rest of the room. The voucher for St. Katherine's is in his hand as Eddie moves quickly toward him. TATE St. Katherine's Convent on East Barton. It's got ta be the place. Tate hangs up the phone and BOOM! Eddie hits him from behind like a linebacker, drilling him to the floor. Other detectives look up from their desks with confusion and alarm. Eddie pins Tate to the wall and snatches the voucher from his hand. EDDIE You're the leak, you son - of - a - bitch! Clarkson and another detective restrain Eddie before he can hit Tate. EDDIE Get him out of here! Downstairs, in the cell! I want his ass locked up now! Nobody dares even question Eddie at this moment, and two detectives drag Tate away. Eddie grabs Tate's phone and dials long distance. EDDIE Clarkson, get on the other line. Call Frisco Central. Tell'em to get two squad cars outside St. Katherine's convent, and stop anybody with an out - of - state license plate from getting near the place. Clarkson dials quickly. Eddie listens to Tate's telephone as it RINGS and RINGS and RINGS.", "INT. CONVENT - DAY All the nuns are in the chapel as the choir rehearses a hymn, along with Gina and her girlfriends. Those who are not in the choir clap their hands in rhythm. War in the background, we can hear the telephone RINGING.", "EXT. HIGHWAY - DAY Eddie's police car streaks past an entrance ramp with the SIREN screaming. It blazes through traffic, weaving in and out at breakneck speeds. A moment later, Joey and Willy pull onto the highway at a fast rate. The race is on, with Eddie securely in the lead.", "INT. CONVENT - DAY In the rehearsal room, the choir members are putting on their robes. Christy and several nuns are all trying to primp in front of one small mirror. MARY ROBERT The Council of Cardinals! I'm so nervous! What if I forget the words? CHRISTY Right to Hell. Just kidding. Where is that bus? MARY PATRICK It should be here any minute. MARY LAZARUS -LRB- with a clipboard. -RRB- Dress rehearsal at four, performance at 8:30. Sharp. Christy looks out the window, but sees no bus.", "EXT. HIGHWAY - DAY Eddie's police car streaks toward L.A.", "EXT. CONVENT - DAY The neighborhood has turned out to see the choir off. Banners hang from the fire escapes of the building across the street : `` ST. KATE'S - THE GREATEST!'' , `` GOOD LUCK TONIGHT!'' A Catholic school bus pulls up to the convent and parks in front. Several nuns in choir robes come outside and hurry onto the bus. A moment later, Eddie's police car streaks up to the side entrance of the convent, parking around the corner from the bus.", "INT. CONVENT Eddie runs into the convent and finds Mother Superior at the bottom of the stairs. EDDIE Reverend Mother! Quick! Where's Christy? MOTHER SUPERIOR What's wrong? EDDIE They know she's here! They're on their way! Mother Superior points up the stairs. MOTHER SUPERIOR The rehearsal room! Mother Superior looks alarmed as Eddie takes the stairs two at a time.", "INT. REHEARSAL ROOM Looking out the window, Mary Robert sees the bus. MARY ROBERT It's here! Let's go! Everyone makes a final check of their appearance, and then the group leaves the room to head for the bus. Mary Robert and Mary Patrick are the last to leave, except for Christy. MARY PATRICK Hurry, Sister! CHRISTY Get moving. I'm right behind you. Christy primps in the mirror one last time, then leaves the room. She is puzzled to suddenly see Eddie running toward her from a side staircase. CHRISTY Eddie? Eddie grabs her hand and pulls her toward the side staircase. EDDIE Vince knows you're here. CHRISTY -LRB- shocked and scared. -RRB- How? EDDIE Long story. His goons will be here any minute. We've got to get you out of here' - now! Christy and Eddie hurry down the steps to the side entrance, and she almost trips on her choral robes. Eddie opens the door and starts outside, but Christy stops in her tracks. CHRISTY I ca n't go with you. EDDIE What? CHRISTY I've got a show - at St. Matthew's Cathedral. We're singing for the Cardinals. EDDIE You're gon na be singing for St. Peter if you do n't get your ass out of here! Eddie jerks her hand, and Christy follows him reluctantly to the car.", "INT. EDDIE'S CAR Eddie takes off at a fast clip up the street. As the car cruises through an intersection, Christy looks back at the bus with confusion and sadness. She sees the other nuns rushing back into the convent to look for her.", "INT. REHEARSAL ROOM Several members of the choir rush into the room with panic in their eyes. MARY PATRICK Mary Clarence! Sister! MARY ROBERT It's no use. She just is n't here. MARY PATRICK It does n't make any sense. She was right behind me. The HORN on the school bus blows loudly down in the street. MARY ROBERT We ca n't sing without her! What should we do? MARY PATRICK -LRB- calming herself. -RRB- We'll pray - and she'll be there. The nuns are calmed by the tone of Mary Patrick's voice. They leave the room to join the others on the bus.", "EXT. STREET - DAY Eddie's police car streaks through crowded streets.", "INT. EDDIE'S CAR Christy still looks unsettled. CHRISTY Eddie - I've got to go back. They wo n't sing without me. I'm deserting them. EDDIE I think they'd understand. CHRISTY That's not the point! They need me! Eddie glances at her, impressed by the influence the convent has had. EDDIE They need you? A bunch of nuns? For what? Moral guidance? Make - up tips? CHRISTY You do n't get it! It's a big thing for them, it's like. Caesar's Palace. Prime - time. They're singing for the Cardinals. It's like. `` Star Search.'' If first prize was a trip to the Vatican. They've worked really hard, they deserve this. EDDIE -LRB- goading her. -RRB- Nuns? CHRISTY They're not nuns. They're like. people. With one outfit.", "EXT. CONVENT - DAY Joey and Willy park their car in front of the convent, get out quickly and climb the steps to the front door. They ring the bell. JOEY So that guy in the bar was right? She's like. some kind of nun? WILLY Yeah, right - when I see it. Lawanda and her friends watch Joey and Willy pounding on the convent door. LAWANDA You dudes looking for nuns? They all went to St. Matthew's. JOEY St, Matthew's? Thanks. LAWANDA Praise the Lord. Joey and Willy run past the girls, get into their car and take off.", "INT. EDDIE'S CAR - DAY Eddie glances at the dashboard and sees that the fuel gauge is close to empty. He wheels into a gas station and pulls up to the tanks. Christy starts to open the door, but he stops her. EDDIE What're you doing? CHRISTY Even nuns have to pee. He lets her go, then gets out to pump gas.", "INT. WOMEN'S ROOM Christy enters the bathroom ; it is deserted. She fondles her rosary beads, and sinks to her knees. This position does n't work for her ; she stands. She looks around her ; she glances up, toward heaven. She decides to do things simply, and speaks in a matter - of - fact tone. CHRISTY Okay, it's me. Mary Clarence. Christy. It's Chris Carter. I need some help here. I ca n't believe I'm doing this. Okay, look, I know I should just get back in the car, and get the hell out of here. Save my skin. I mean, it's not wrong, Vince really wants to kill me. Why do you make guys like Vince? But if I do n't sing at St. Matthew's. Mary Robert. Mary Patrick. It means so much to them. They're counting on me - and I like that. Maybe Reverend Mother is right, maybe I am a bad influence, maybe I'm just some Vegas slut, but. can we cut a deal here? I mean, I still do n't believe in, like, most of the Commandments, and stuff in church still gives me the willies, but - if I go back and sing, if I do a good deed, will you promise I wo n't get killed? All I want is a sign. Lightning. Thunder. Anything. Suddenly, Christy hears the toilet FLUSH in the next bathroom. CHRISTY -LRB- in disbelief. -RRB- No. No. Does n't count. Suddenly, Christy hears `` AVE MARIA'' coming from a radio or TV outside the bathroom. She looks up ; a ray of sunlight illuminates a grimy, dime - store Christmas tree ornament hanging from a room deodorizer. The ornament is a glittery angel ; it sparkles in the light. Christy leaves the bathroom, still not quite sure.", "EXT. GAS STATION Christy looks through the grimy window of the gas station office. A bored Mechanic is watching a small portable TV. On the TV is an episode of `` THE FLYING NUN'' : Sally Field, in full habit, is soaring along. Suddenly, Christy hears the loud ROAR of a motorcycle starting up over by one of the gas pumps. The BIKER turns and looks at Christy : he has long hair, and a beard and moustache, and he looks, well, a bit like Jesus. CHRISTY Oh my God. Christy runs up to the Biker. CHRISTY I'm late for church. Can I get a lift? Christy swings onto the back seat ; the Biker puts his Harley in gear and flies down the street. Eddie is shocked as he drops some money on the ground and jumps into his car to follow.", "EXT. ST. MATTHEW'S CATHEDRAL - DAY We see a network truck parked in front of the landmark cathedral.", "INT. CHAPEL There is a sense of chaos in the chapel as TECHNICIANS set up television equipment, and Mother Superior leads the choir as it rehearses. Near the back of the chapel, Bishop O'Hara looks concerned over the performance of the choir. A CARDINAL walks up to Bishop O'Hara. CARDINAL Is this the choir you've been speaking so highly of, Bishop? O'HARA They're just a bit nervous. They'll be fine. The choir seems very demoralized as they finish the hymn. Mary Patrick is close to tears. MARY PATRICK We sound terrible We need Mary Clarence. MARY LAZARUS We're losing it. MARY ROBERT I do n't understand. Where is she? MOTHER SUPERIOR Her whereabouts are unknown, and we must proceed without her. Pull yourselves together. Clapping his hands briskly, the FLOOR DIRECTOR suddenly steps forward from behind the TV cameras and hustles the choir away from the altar. FLOOR DIRECTOR Okay, Sisters, we have to move on now. That was great, just great. Charlie, throw a spot on the pulpit. Let's get a balance. Dispirited, the choir leaves the altar and walks toward the back of the church.", "EXT. LOS ANGELES STREET The motorcycle flies through the streets, breaking every traffic law on the books. Christy's robe flaps behind her in the wind, and she has a wide smile as she rides. As passersby stare at her, she holds out two fingers and blesses them.", "EXT. ST. MATTHEW'S CATHEDRAL Mary Robert stands alone in front of the cathedral, wringing her hands with worry. Suddenly, her face brightens like the dawn as she sees Christy ride up. MARY ROBERT You're here! Thank goodness!", "INT. CATHEDRAL Christy and Mary Robert rush down a side corridor, turn a corner and see two TV Technicians standing near some cables with the letters of the network embroidered on the backs of their jackets. Christy rushes up to them and taps them on the shoulders. CHRISTY Excuse me - where's the rehearsal room? The two Technicians turn toward her, and she is horrified to see they are. Joey and Willy. Christy gasps as Willy sticks a gun in her ribs. Joey smiles at her. JOEY The rehearsal room is right this way. Joey opens a door that leads to an alley behind the cathedral. Mary Robert looks confused. MARY ROBERT Wait, this is n't the way. Who are you? CHRISTY They're from my old convent. Christy suddenly lifts her knee into Willy's groin, and he buckles over. She scrambles for the gun, but Joey beats her to it. Christy looks frantically at Mary Robert. CHRISTY Run! Take off! MARY ROBERT Again? Revived Willy lunges for Mary Robert and grabs her. The two men hustle the two struggling nuns out the door to the alley.", "EXT. ALLEY - DAY Joey and Willy wrestle the two nuns to the open door of their car. They shove Christy and Mary Robert into the back seat, and Willy climbs in next to them. WILLY Go! Joey starts the car, and it takes off with SQUEALING tires. Willy has his gun pointed at Christy, who sits beside Mary Robert. MARY ROBERT But what do they want? Where are we going? CHRISTY -LRB- to Joey and Willy. -RRB- She's got nothing to do with this. Let her go. JOEY Yeah, right to the cops. No way. CHRISTY Mary Robert, do n't panic. Remember what we talked about? Experience? JOEY What? CHRISTY -LRB- quickly, to Mary Robert. -RRB- You can handle this. The car comes to a stop at an intersection. Christy reaches across Mary Robert and opens the car door. She shoves Mary Robert into the street. CHRISTY Go! Mary Robert executes a perfect somersault onto the sidewalk. She looks to heaven, crosses herself and runs back to the cathedral. Willy grabs Christy before she can escape. JOEY She's gettin' away! WILLY Forget her! We got the one we need! Step on it! Joey takes off again.", "EXT. STREET Eddie's car is tied up in traffic, but he turns on his blinker lights and peels over to the opposite lane. Cars stop to let him through.", "INT. ST. MATTHEW'S CATHEDRAL - DAY In the rehearsal room, Mary Robert has just finished telling the nuns what happened to Christy. MARY PATRICK You mean - they kidnapped her? MARY ROBERT Yes - two men - and they had guns. MOTHER SUPERIOR She should n't have come back. She knew she was in danger. MARY PATRICK But - why would anyone kidnap a nun? MARY LAZARUS Were they Catholics? Mother Superior suddenly steps forward. MOTHER SUPERIOR She is n't a nun. Her real name is Christy Van Cartier, and she is a professional entertainer. She witnessed a vicious crime, and has been hiding in our convent. The nuns all react with shock and emotion. MARY ROBERT An. entertainer? MARY PATRICK She was n't a nun? ANOTHER NUN She lied to us? MARY ROBERT But. but. she was such a wonderful nun. MARY PATRICK Look what she did with the choir. She made us sing beautifully. MARY LAZARUS That should have tipped us. MARY ROBERT Well, I do n't care who she is. We ca n't sing without her! MARY PATRICK She's our inspiration! MARY LAZARUS She's the act! MARY ROBERT Reverend Mother, I know that you and Mary Clarence did n't always agree, but - we've got to help her. MARY PATRICK We've got to save her! MARY LAZARUS We ca n't leave it up to the Feds! The nuns all look to Mother Superior for an answer. MOTHER SUPERIOR Calm down. Think clearly. Mary Robert, do you have any idea who those men were? MARY ROBERT She said they were from her old convent. MOTHER SUPERIOR But. she was a showgirl. She did n't have an old convent. MARY PATRICK She told us about one. The Little Sisters of the Moonlight. In Las Vegas. MOTHER SUPERIOR All right. It's a beginning. Las Vegas, Nevada. All the nuns hurriedly cross themselves. MOTHER SUPERIOR Mary Lazarus, find the Bishop and tell him the situation. Everyone else - follow me. Mother Superior leads the way out the door.", "EXT. STREET - NIGHT The Driver sits at the wheel of the school bus, reading a sleazy novel. He looks up as the nuns all converge on the door. MOTHER SUPERIOR Emergency! Open up! The Driver opens the door. MOTHER SUPERIOR The San Francisco airport! Immediately! The nuns are all zooming past the Driver, onto the bus. MARY LAZARUS -LRB- to the Driver. -RRB- Step on it! Mary Lazarus grabs the Driver's sleazy novel, confiscating it. The Driver starts the engine. As the bus drives off, Eddie's car streaks INTO THE SCENE and parks in front of the cathedral.", "INT. ST. MATTHEW'S CATHEDRAL Eddie rushes into the lobby and sees Bishop O'Hara. EDDIE Where is she? O'HARA There was a kidnapping. We think Las Vegas. Eddie turns and races back toward the car.", "EXT. SAN FRANCISCO AIRPORT - NIGHT Several small planes are parked on the tarmac. Mother Superior and the nuns are arguing with the MANAGER of the airport, a grouchy guy in grease - stained overalls. MANAGER Fifteen hundred for the run to Vegas. Rock - bottom. MARY PATRICK But we do n't have fifteen hundred! MARY ROBERT We're nuns! The Manager starts back toward his office. MANAGER Ca n't help you. No exceptions. MOTHER SUPERIOR Young man! The voice has a powerful ring of authority to it, and the Manager looks around. MANAGER What? MOTHER SUPERIOR We are nuns. We pray. MANAGER So? MOTHER SUPERIOR We pray for good things. Food for the hungry. MARY PATRICK Peace on Earth. MOTHER SUPERIOR However, we can also pray for other things. MARY PATRICK Measles. MARY ROBERT Lawsuits. MARY LAZARUS Tax audits. There is a pause, as the Manager stares at the nuns in horror. MOTHER SUPERIOR Come, Sisters. Let's go to chapel. Bring your beads. The nuns begin to leave. MANAGER Wait!", "EXT. NIGHT SKY - LATER A plane sweeps through the desert sky, headed for Las Vegas. Through the windows of the plane, we see nuns staring out at the glittering city in the distance.", "INT. MOONLIGHT CASINO - NIGHT Packed with gamblers, the room is a flurry of activity. Joey works his way through the crowd, then spots Vince near the money cage. JOEY We got her. Vince follows Joey out of the casino with a grim expression.", "INT. STORAGE ROOM Vince and Joey enter a storage room that is cluttered with boxes. Christy is tied to a chair in the back of the room, with Willy standing guard over her. Christy sits very calmly, despite the anger she is in. She seems distinctly nun - like in her radiant serenity. VINCE -LRB- turning on the charm. -RRB- Babe. Christy does not reply. VINCE Babe, what happened here? Look at you. CHRISTY Good evening, Vincent. VINCE What, Vincent? This is me, doll. I know you. What did you think you were doing? Running to the cops. Hiding out. No, no. You're sorry now, are n't you? CHRISTY I am sorry for all my sins. And yours. Vince, Willy and Joey all look at each other, perplexed. WILLY She's a nun, Vince. VINCE -LRB- kneeling by Christy. -RRB- I love you, Chris. I always will. I gave you so much. My time. My affection. A big - time career. And how do you repay me? What's the thanks I get? Where's the loyalty, huh? Where's the love? CHRISTY You will be judged, Vincent. We all will. Vince stands ; the charm has n't worked. He's getting angry. VINCE What do you mean - judged? I do n't get judged, baby. And who are you to talk? You were nothing. You could n't even sing. I must have been out of my mind. WILLY She's acting weird, Vince. Ever since we picked her up. JOEY It's spooky. It's like she ai n't even afraid or nothing. Vince grabs the front of Christy's habit and squeezes it tightly around her throat. VINCE She's afraid. Come on, tell the boys you're afraid. CHRISTY -LRB- calmly. -RRB- I feel sorry for you, Vincent. And I forgive you. This really throws Vince, and angers him further. He glares at Christy, and then releases her. He turns to Joey and Willy. VINCE Who gives a damn? Waste her. Joey and Willy look a little unsure as Vince storms out of the room.", "INT. PLANE The nuns are mesmerized by the bright skyline with its colorful flashes of neon. MARY PATRICK It's so beautiful. MARY ROBERT And what a lovely name. Las Vegas. MOTHER SUPERIOR And Gommorah. The plane sets down at the Vegas airport. Mother Superior and the nuns climb out.", "INT. BAR AREA Joey and Willy find Vince near the bar. VINCE It's done? JOEY Not. totally. VINCE -LRB- disturbed. -RRB- What's the problem? WILLY She's. she's a nun. VINCE Are you nuts? She's not a nun. It's Christy. She's a babe! JOEY But, Vince, how do you know she did n't like, join up and become a nun when she was in that convent? VINCE It did n't happen. WILLY She was real quiet and peaceful all the way back in the car. JOEY No smart - ass remarks or nothing. VINCE I ca n't believe this. Okay, I want both you guys to go back there, and both of you shoot her at the same time. JOEY Yeah. WILLY Right. That way we'd never know which bullet got to her brain and killed her first. It could always be the other guy. They all look happy with this solution as Joey and Willy leave.", "INT. STOREROOM Christy still shows no signs of fear as Joey and Willy take out their guns. JOEY Okay, we got one - two - three, and on three we both shoot. Got it? WILLY Got it. Joey points his gun at Christy's left temple, and Willy points his gun at her right temple. JOEY One. two. Christy closes her eyes. JOEY Three! Neither man shoots. They look at each other with anger. Christy opens her eyes. JOEY You did n't shoot! WILLY Neither did you! JOEY I figured if you were gon na, then I would n't have to. WILLY That's what I figured, too.", "EXT. LAS VEGAS HELIPORT The nuns leave the terminal and stand on the sidewalk out front. MARY ROBERT Las Vegas - she's here somewhere. MOTHER SUPERIOR But where? MARY PATRICK Look! There she is! Mary Patrick is pointing to a group of billboards that feature huge ads for the local hotels and casinos. The center billboard has a splashy picture of a roulette wheel, the Elvis impersonator, and Christy and the Ronelles. The bottom part of the billboard shows the name of the Moonlight Casino and Lounge. MARY ROBERT The Little Sisters of the Moonlight! MARY PATRICK But how do we get there? MOTHER SUPERIOR Stand back. -LRB- she strides into the road. -RRB- Taxi!", "INT. CASINO Once again, Joey and Willy find Vince. VINCE Well? JOEY It did n't work, Vince. VINCE You were both supposed to put your guns to her head and shoot. WILLY We both missed. VINCE Okay, so the problem is still the nun outfit, right? JOEY Right. VINCE So, take it off. WILLY -LRB- shocked. -RRB- Strip down a nun? You want us to fry? JOEY For like, twelve zillion eternities? VINCE I'm telling you, she's not a nun! Get her out of the nun outfit, and put her in some clothes. JOEY Maybe pants. WILLY A sweater. JOEY And then we can ice her. No nun, no evil eye. Joey and Willy are very confident about this solution. They strut off, pleased with themselves.", "EXT. LAS VEGAS AIRPORT - NIGHT Eddie strides out of the airport ; he took a later flight than the nuns. A squad car is waiting ; Clarkson beckons him. CLARKSON Lieutenant! Eddie jumps in the car. Clarkson turns on the red bubble light and the SIREN, and the car zooms off.", "INT. STORAGE ROOM - NIGHT Joey and Willy return to the storage room, looking confident of their mission this time. Christy glances up at them as they enter, and Willy begins to untie her. WILLY We got it all worked out. He works the ropes free, and Christy rubs her wrists to get circulation back again. JOEY Okay, Christy - strip. CHRISTY What? JOEY That. thing. That nun thing. Take it off. Christy suddenly drops to her knees and begins to pray. WILLY What's she doing? JOEY She's praying. CHRISTY And God bless Joey and Willy, who are only trying to do their jobs. -LRB- faking Latin. -RRB- Pox fibula tibia vobiscum. Et marcus domino's pizza. Have mercy. Amen. -LRB- she looks up at the guys. -RRB- I'm finished now. Help me up. As Joey and Willy bend down to help her up, Christy suddenly grabs their neckties in each hand. With a fierce jerk, she pulls the neckties with all her might, smashing Joey's head against Willy's. Stunned, Joey and Willy stagger backward, holding their heads. Christy scrambles out the door while the two men groan in pain.", "INT. CORRIDOR Joey and Willy burst out of the room with guns drawn. At the far end of the corridor, they spot a glimpse of black clothing as Christy starts down the stairs. JOEY There she goes! she's taking the stairs I They run quickly after her.", "INT. STAIRWAY Christy runs down the stairs as a SHOT rings out. Christy screams and runs even faster.", "INT. CASINO A door swings open into the casino, and Christy appears, looking frantic. A MUFFLED SHOT is heard behind her, and she sprints into the casino. Seconds later, Joey and Willy appear. JOEY Find Vince and tell him what happened. I'll take this side of the room. Willy hurries away to find Vince, and Joey starts searching the crowd.", "EXT. THE MOONLIGHT HOTEL AND CASINO Three cabs ROAR up in front of the building and nuns tumble out.", "INT. CASINO ENTRANCE The nuns enter the casino and stop dead in their tracks. Before them is a large room filled with glitter and sin, the SOUND of jackpots and crap tables. MOTHER SUPERIOR Brace yourselves, Sisters. In unison, the nuns all cross themselves. MOTHER SUPERIOR Spread out and look for Mary Clarence. Try to blend in. The nuns spread to every part of the room, looking for Christy.", "INT. CASINO A blackjack table ; a game is in progress, with several players. Mary Patrick rushes up to the table. MARY PATRICK Excuse me - has anyone seen a nun? MARY ROBERT A Benedictine. The CROUPIER and the players stare at the two nuns.", "INT. CASINO Christy is making her way past a roulette table. Suddenly, she sees Joey coming toward her, making his way through the crowd. Christy grabs the arm of a SALESMAN playing roulette. CROUPIER Place your bets. CHRISTY -LRB- to the Salesman. -RRB- Red 21. SALESMAN You sure? How do you know? Christy looks up to heaven. SALESMAN -LRB- to the Croupier. -RRB- Red 21. Joey stands at the opposite side of the roulette table, glaring at Christy. The crowd around the table watches Christy for a moment, then they all put their chips down on Red 21. Joey starts working his way around the table toward Christy as the Croupier spins the wheel. The ball falls into a slot. CROUPIER Black 14. Everyone at the table turns toward Christy, outraged. She gives them a reprimanding look. CHRISTY Did you learn something? Christy suddenly realizes that Joey is almost at her side. She shoves the Salesman against him and runs away.", "INT. CASINO We see two long rows of slot machines, with gamblers working every machine. Willy appears at one end of the row, scanning the area for Christy. He sees a nun crossing at the far end of the row, and she moves out of sight. Willy heads in that direction. Someone hits a JACKPOT behind him, and he turns toward the sound. As he does. he sees another nun crossing at the opposite end of the row of machines. Willy turns again - now he sees three nuns crossing at the opposite end. He looks confused, and does n't know which way to turn.", "EXT. PARKING LOT - NIGHT Eddie drives up in the squad car and parks near the back door. EDDIE -LRB- to Clarkson. -RRB- Close off the block, but do n't move in till I tell you. Eddie jumps out of the car and hurries inside.", "INT. BLACKJACK AREA As Christy moves past a blackjack game, she suddenly sees Vince moving toward her. Turning quickly, she moves away from Vince, but suddenly sees Joey coming toward her from the opposite direction. Trapped for a moment, she has panic in her eyes. Suddenly she is flanked by Mother Superior and Mary Patrick. CHRISTY What are you doing here? MOTHER SUPERIOR Saving you. Move! The nuns surround Christy and head through the crowd in a cluster. Joey and Vince pursue them from different directions. Just before they catch them, Mother Superior barks an order. MOTHER SUPERIOR Break! The nuns split up, each taking a different direction. Vince and Joey look bewildered. VINCE Get her! JOEY Which one! VINCE The nun! Vince, Joey and Willy each pick a nun and follow her. Vince catches up to a nun, whom we only see from the rear. He grabs her shoulder. VINCE Babe. The nun spins around ; it is Mother Superior. MOTHER SUPERIOR Sweetheart. Vince releases her and frantically searches the crowd again. Joey catches up with his nun, only to find it is Mary Patrick. The shell game has worked ; Christy has escaped for the moment.", "INT. SLOT MACHINE AREA We FIND Eddie scanning the floor and seeing nuns spread out everywhere. He talks quietly into his walkie - talkie. EDDIE Move in. Seal off the exits, but do n't come inside till I tell you.", "INT. CASINO Vince, Joey and Willy run into each other in the center of the casino. WILLY There's nuns everywhere! Hundreds of'em! All the nuns suddenly come together, and see that the exits are blocked by Vince and his hoods. Vince spots Christy in the center of the group. VINCE There she is! JOEY Which one? Christy sees Vince pointing at her. CHRISTY Quick, there's another way out of here. Follow me. Christy runs toward a set of glass doors set off to one side. The other nuns follow her. VINCE She's heading for the lounge! Go! Vince, Joey and Willy head for the lounge. Across the room, Eddie sees Christy and the cluster of nuns head through the glass doors. He barks into his walkie - talkie. EDDIE Move in - now!", "INT. LOUNGE The lounge is deserted between shows, and all the lights are out. The mobsters enter with guns drawn. JOEY I ca n't see anything in here! VINCE Willy - hit the lights. WILLY Where? VINCE Find'em! Willy moves off to find the light switch. There is a flash of black and white fabric behind some chairs. JOEY There! Before he can shoot, there is another flash of fabric on the opposite side of the room. VINCE -LRB- aiming. -RRB- No - there! And a third flash of fabric near the stage. JOEY Over there! Willy has found the lights, and the lounge is suddenly brightly lit. The mobsters blink for a moment, then find all the nuns bunched together in a corner, trying to find an exit. VINCE Freeze! Everybody! The nuns turn and face the mobsters, shielding Christy. VINCE Joey? JOEY Where is she? Christy steps forward, to the front of the stage. CHRISTY Right here. Let the others go - they have nothing to do with this. VINCE Joey - do it. JOEY But, boss - she's still, you know, a nun. VINCE She's a broad! Got it! Just some broad! Mother Superior steps forward. MOTHER SUPERIOR -LRB- with authority. -RRB- I guarantee you, she is no broad. She is Sister Mary Clarence, of St. Katherine's Convent. She is a model of generosity, virtue and love. You have my word, gentlemen. She is a nun. WILLY Hear that? Now are n't you glad we did n't shoot her? Vince has had enough. Facing Christy, he raises the gun and points it right between Christy's eyes, only inches away. The nuns all recoil with horror. BLAM! The gun goes off, but Christy is n't hit. She blinks her eyes open, shocked to be alive. Instead, it's Vince who falls, crumpling to the floor, and clutching his shoulder. Across the room, Eddie holds a smoking police revolver. The nuns all swarm around Christy joyously. MARY ROBERT Mary Clarence - you're alive! MARY PATRICK -LRB- smiling. -RRB- Christy. MARY LAZARUS -LRB- also smiling. -RRB- Van Cartier. CHRISTY You know? About me? About everything? Christy breaks away from the jubilant nuns. She faces Mother Superior. CHRISTY Reverend Mother - Thank - you. MOTHER SUPERIOR Oh? CHRISTY You saved my life. MOTHER SUPERIOR I'm a Christian. Police pour into the room and gather up Joey, Willy and Vince. Eddie walks over to Christy and Mother Superior. EDDIE Do n't you have a concert to go to? CHRISTY That depends. Sisters, you do n't know this, but Reverend Mother's been making all sorts of noises about resigning. That's bad news. I do n't know if we could sing, if we thought that was true. MARY ROBERT Not a note. MARY PATRICK Impossible. Mary Lazarus coughs, and points to her throat, as if she has laryngitis. All the other nuns imitate her. CHRISTY -LRB- to Mother Superior. -RRB- Then I guess you're stuck. Life sentence. No parole. MOTHER SUPERIOR Very well. -LRB- she turns to Eddie. -RRB- I hold you responsible for all of this, For introducing a lounge act into my convent. For utterly disrupting our way of life. And for placing all of us in mortal danger. -LRB- sincerely, with a smile. -RRB- Thank - you. ANGLE on Christy, watching this. She grins. CHRISTY Yeah, Eddie, thanks a whole bunch. Thanks for sticking me in a convent. So you think, after all this, maybe I really am a nun? EDDIE I do n't know. There's only one way to be absolutely sure. CHRISTY Yeah, like what? Eddie takes Christy in his arms, and they begin a kiss. As they do so, Vince struggles toward Christy, as two cops hold him back. He is furious. VINCE I was good to you! You re nothing but no - talent garbage! You're a two - bit Tramp! CHRISTY -LRB- staring at Vince, seeing him for the scum that he is. -RRB- That used to be true, Vince. I was with you. But something happened. And I'm different now. Real - different. I've had, well, you might call it - a religious experience. And I've got just two words for you. And those two words are. MARY ROBERT -LRB- afraid Christy will curse. -RRB- Mary Clarence! CHRISTY -LRB- grinning, to Vince. -RRB- Bless you.", "EXT. ST. MATTHEW'S CATHEDRAL People are pouring into the cathedral. Among them we see many Cardinals in their red uniforms.", "INT. ST. MATTHEW'S CATHEDRAL The choir has gathered together in a small room off the main chapel. They are putting finishing touches on their choral robes, and are waiting nervously to go on. MARY PATRICK -LRB- to Christy. -RRB- I just realized - this is the last time we'll all be together. We're going to miss you so much. Christy and Mary Patrick embrace. Mary Patrick is tearful. CHRISTY Hey - you re supposed to be the cheerful one. Why do I suddenly feel like Snow White? MARY LAZARUS -LRB- to Christy, with humor. -RRB- You re okay - for a civilian. Christy and Mary Lazarus embrace. MARY ROBERT Reverend Mother? MOTHER SUPERIOR Yes? MARY ROBERT Since Mary Clarence came to St. Katherine's, I've been shot at, kidnapped by Mafia hit men, and I've tasted beer. Is that enough experience yet? For final vows? CHRISTY I do n't think so. What about skydiving? A crank call to Billy Graham? MOTHER SUPERIOR You have evidenced great maturity, Mary Robert. We shall have a serious discussion. CHRISTY What about me, Reverend Mother? I think you were right. I'm just a bad influence. Sister show biz. MOTHER SUPERIOR Perhaps not. Perhaps we can all use. a little Spandex. CHRISTY Really? And maybe shorter habits, and women priests, and sleeping late? MOTHER SUPERIOR Do n't push it. Christy and Mother Superior embrace.", "INT. CHAPEL The chapel is packed to the rafters. The first few rows of pews are occupied by Cardinals. Television cameras glide up and down the aisles, angling for shots of the altar. The Choir stands together on the altar with Christy in front. Behind them stands a much larger, all - city choir. Christy gives the nod to Sister Alma, and the organ vamp begins. MARY ROBERT I WAS DOWNHEARTED CHRISTY It's true! MARY ROBERT I WAS HELL - BOUND, YES THAT'S WHAT THEY SAY SATAN WAS WAITING CHRISTY Do n't you know it! MARY ROBERT BUT THE LORD CAME TO ME CHRISTY What did He say? MARY ROBERT HE SAID, SING THE DEVIL AWAY! MARY PATRICK MY SOUL WAS IN DANGER I'D FALLEN FROM GRACE CHRISTY It's true - I know her. MARY PATRICK DAMNATION WAS ALL I COULD SEE CHRISTY What a shame! MARY PATRICK BUT THEN CAME AN ANGEL WHO WHISPERED THESE WORDS CHRISTY Pay attention. MARY PATRICK SING AND THE DEVIL WILL FLEE! CHRISTY Were you wicked? CHOIR SING! CHRISTY Were you tempted? CHOIR SING! SING AND YOUR SPIRIT WILL SOAR! In the front row, Mother Superior is trying to resist the music. She gives in, and starts bobbing her head to the beat. Beside her, Eddie looks very proud as his eyes meet Christy's. CHRISTY But I'm fearful! CHOIR SING! CHRISTY And I'm tearful! CHOIR SING! CHRISTY YES I'LL SING AND KNOW JOY EVERMORE CHRISTY/CHOIR DO YOUR TROUBLES BIND YOU IF YOO'RE DEEP IN WOE YOU CAN BANISH GLOOM IF YOU TRY FIND A SONG WITHIN YOU LET IT FILL YOUR DAYS JUST SING MARY ROBERT SING! CHOIR JUST SING! MARY PATRICK SING! MARY LAZARUS JUST SING! CHRISTY Sing! CHRISTY/CHOIR SING AND SAY DEVIL, GOODBYE! The entire congregation is ecstatic, as the song concludes with a glorious final flourish. THE END" ]

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[ "INT. DARK ROOM - NIGHT A padded wall is papered with NEWSPAPER CLIPPINGS that date back to the early 1900s : `` LOCAL FOWLER BROTHERS LOSE $ 35 TICKETS TO BOARD TITANIC'' appears over `` FOWLER BROTHERS KILLED IN COAL MINE MISHAP.'' Another series of articles reads, `` JEWISH PROFESSOR DENIED ADMITTANCE TO HINDENBURG'' and `` PROFESSOR RABINOWITZ KILLED IN AVALANCHE.'' Etc. Continuing along the wall, the newspaper articles all focus on the fates of the original SURVIVORS of the FLIGHT 180 CRASH. We DISSOLVE between the various headlines depicting the gruesome deaths of Tod, Terry, Ms. Lewton, Billy Hitchcock, Carter and Alex Browning. Also in the mix are various CRIME SCENE PHOTOS of the deaths. Decapitated torsos, crushed, mangled bodies, the charred remains of another and the face - down body of Alex Browning. MAPS line the walls as well, pinpointing the locations of numerous deaths, perhaps seeking a pattern. Charts that timeline bizarre deaths, seating charts of downed aircraft, etc. LATEX - GLOVED HANDS tear out the last article, apply fun - tack to its corners and place it in the center of all the others : A REMEMBRANCE FOR THE VICTIMS OF FLIGHT 180 Friday marks one year anniversary. END TITLES. FLASH TO BLACK as a HAND ENTERS FRAME, PULL BACK TO REVEAL :", "EXT. KIMBERLY'S NEIGHBORHOOD - DAY KIMBERLY BURROUGHS, 19, puts a folded AAA map in her mouth. She opens the back of a RED NISSAN SUV, and pla ces her duffel bag inside. That done, she lets the map drop from her mouth, catches it in her free hand and turns to hug her father, MR. BURROUGHS. KIMBERLY Thanks, Dad. I'll call you. MR. BU RROUGHS You have everything, Kimberly? Credit card, cell phone, AAA card? KIMBERLY Relax, Dad. It's Daytona, not Mongolia. MR. BURROUGHS -LRB- playful. -RRB- Fix - A - flat? Road flares? Sunblock? Mace? SHAINA -LRB- O.S. -RRB- Condoms, handcuffs, lube? Kimberly and Mr. Burroughs turn to see - SHAINA, 19, tall leggy brunette. Tan, tight tube top revealing her pierced navel, Kimberly's best friend. She walks up the driveway with her bags. SHAINA Just kidding, Mr. B. Do n't worry, I'll keep an eye on her. MR. BURROUGHS -LRB- sarcastic. -RRB- Oh, that makes me feel a lot better. Shaina throws her bags in, shuts the back and climbs in the SUV. Kimberly hugs her dad, kissing him on the cheek. KIMBERLY I know this is the first time we've been apart since. But everything's gon na be okay. MR. BURROUGHS I know, honey. I just - Kimberly hugs him tighter. Cutting him off. MR. BURROUGHS Your mother would have been so proud of the way you've handled yourself through all of this. KIMBERLY -LRB- softly. -RRB- I know, Dad. SHAINA -LRB- O.S. -RRB- Hello, the guys are waiting! Kimberly gives him a quick kiss, jumps behind the wheel, starts the car and pulls away as Shaina cranks up the stereo. MR. BURROUGHS Buckle up! Mr. Burroughs waves as the girls roar off. As he looks down he spots an OIL STAIN left by Kimberly's SUV. As he drags his shoe across the stain, a SLIGHT BREEZE blows past his face. CAMERA PUSHES IN as a look of concern crosses his face.", "EXT. HIGHWAY ON RAMP - DAY ON OLD WOMAN As she pushes her supermarket cart up the on ramp. A SQUEAKY WHEEL is shrill and disturbing. DRIVERS of several waiting vehicles avoid staring at her weathered face as she passes. Up ahead waiting in line, is Kimberly's red SUV. UP AHEAD Waiting in line, is Kimberly's red SUV. SHAINA -LRB- O.S. -RRB- Watch it! Kimberly accidentally KISSES the bumper in front of her while daydreaming. She calls out to the driver in front : KIMBERLY Sorry! My fault! Shaina looks over, concerned. In the backseat, the guys DANO and FRANKIE laugh hard and some of Frankie's milkshake comes out of his nose. SHAINA Want me to drive? KIMBERLY No, I'm good. Shaina looks at Kimberly as a HAND suddenly hits Kimberly's window. Kimberly spins around, startled. Kimberly stares transfixed at the Old Woman, who stares back with chilling intensity. The kids ad - lib `` Let's go'' and `` Fucking freak.'' The Old Woman's PLASTIC BAG BREAKS, sending oranges rolling down the on - ramp. The Old Woman breaks eye contact with Kimberly as she rushes to retrieve them. The signal turns from red to flashing yellow. Kimberly pulls the SU V onto the highway, looking in the side view mirror to see the Old Woman look up at her in SLOW - MO.. FRANKIE Dano, should n't we go back and help your mother? DANO Blo w me. CU ON KIMBERLY As she looks back from the mirror and reacts to an ominous electronic road sign that flashes `` WARNING : CONSTRUCTION NEXT 180 FEET''. NISSAN SUV Kimberly merging into traffic, NEARLY COLLIDES with a speeding yellow mini - bus carrying a high - school football team. Kimberly nervously jerks the wheel to the right, then realizing she's speeding towards the road construction barrels, she swerves back left, right behind the mini - bus at the last moment. CLOSE. Kimberly pulls around the mini - bus as rowdy football players tackle each other, yelling : FOOTBALL PLAYERS Pile up! Pile up! Pile up! Kimberly flicks on the radio and we hear HIGHWAY TO HELL by AC/DC at earsplitting volume. Kimberly and Shaina jump from the shock and reach to lower the volume. Kimberly, disturbed by this, hits SEEK - an oldies station. A GRISLY CAR CRASH from Nervous Norvus' TRANSFUSION album. DANO Christ, is this tribute to Princess Di Day or what? Kimberly passes a car WEAVING on her right. The driver reaching into the back seat to quiet a BARKING DOG hanging on its head out the window. KIMBERLY -LRB- unnerved. -RRB- Jesus, all the crazies are out today. A CLOUD passes Kimberly's head. She smells it and turns around, taking her eyes off the road to see Dano smoking a joint. KIMBERLY I told you no drugs in the car! My dad will freak! Dano and Frankie exchange looks, God, what a geek! DANO -LRB- laughs. -RRB- Calm down, Kimmy. It's not drugs, just weed. FRANKIE Yeah, you should have specified. Kimberly turns to Shaina, helpless. Shaina spins around, her eyes wordlessly tell Dano, I know she's a priss, but put it out. Then Kimberly's CELL PHONE RINGS. She hits the speaker button. MR. BURROUGHS -LRB- V.O. -RRB- Kimberly? It's Dad. KIMBERLY Hey, Dad. What's up? Dano defiantly blows more smoke toward Kimberly, then breaks into an unexpected coughing fit - looking over to see a HELLS ANGEL laughing at hi m. The biker's trashy GIRLFRIEND, also laughing, quickly FLASHES HER TITS at Dano over : MR. BURROUGHS -LRB- V.O. -RRB- Your car's leaking either transmission or brake fluid. I want you to have it checked ASAP at a gas station. KIMBERLY You got it, Dad. I'll call you if I have a problem. MR. BURROUGHS -LRB- V.O. -RRB- I mean it. Take care of it. KIMBERLY I will, Dad. Bye, luv you. Kimberly passes a STATION WAGON on her right, the DRIVER squinting at a map while driving. A mattress and some furniture tied to the top SHIFT as the wagon hits a bump. SHAINA Um, Kimberly, your dad's not gon na call like every ten minutes is he? Before Kimberly can answer, Dano sees a CHP speeding up behind him. He lowers the joint at once. DANO -LRB- hiding bag of weed in pants. -RRB- Shit! There's a cop behind us. Pull into the right lane now! Kimberly, scared, does as she's told nearly colliding with a speeding flat bed semi hauling a huge load of logs! A HORN BLASTS. The truck swerves. Then speeds by on the right. A COILED CHAIN drops down to the highway. DANO Look first, idiot! Shaina turns up the radio and leans over to Kimberly. SHAINA Ignore'em. ON LOG TRUCK One end of the RUSTY CHAIN holding the logs in place rattles on the pavement, sparking. Looking in her rearview mirror, Kimberly turns pale - the COP pulls in behind her. KIMBERLY Dano, put that out NOW. Dano takes one last drag and flicks the joint out the window. It bounces on the windshield of a FORD EXPEDITION to their left. INSIDE THE EXPEDITION KAT, 28, very corporate America, wears a navy blue power suit and speaks into a phone headset while smoking a cigarette. KAT No, I'm stuck on Jury Duty so I wo n't be able to pitch the campaign. Let's get Silverstein to come in and. Kat sees the joint that smoulders in the dried leaves beneath her windshield wipers. A moment later, a small FLAME crackles. KAT What the hell? No, not you. Kat flicks on her WINDSHIELD WIPER FLUID, successfully putting out the joint, but her worn wipers smear ash and fluid around, impairing her vision. Kat turns and looks at - DANO, dead serious all of a sudden. Staring straight ahead. DANO What's the cop doing? Did he see that? Kat sees the tailgating CHP, smiles, then resumes her conversation. KAT Forget it, I'll call him myself. Kat hangs up, then looks down at her cell phone, squints and dials a number. PAN OFF KAT TO OFFICER THOMAS BURKE Early 20's, rookie cop, who seems to have missed the entire exchange. INSIDE THE POLICE CAR Thomas speaks into his radio. THOMAS I was supposed to be off today. How did I get screwed? DISPATCHER -LRB- O.S. -RRB- No biggie. Drake called in sick. THOMAS Copy that. -LRB- switches off ; annoyed. -RRB- Go on, sleep it off Drake. Thomas tries to sip from a McDonald's coffee cup on the dashboard, but it's TOO HOT. He places it back on the dash. The VIBRATIONS of the road make the COFFEE CUP slide closer and closer to the edge of the dashboard. BACK TO KIMBERLY'S SUV Dano nervously looks back. FRANKIE Relax, dude. But Kimberly still looks uneasy as her dashboard `` Check Engine'' light begins flickering. Kimberly spots a road sign - Next Service 18 Miles. KIMBERLY This trip better be wor th it. What's the guy - girl ratio again? SHAINA Get ready to smile, five guys per girl. KIMBERLY I can live with thaaaa - Kimberly stops mid - sentence when the WHITE VAN in front of her suddenly SLAMS ON ITS BRAKES and pulls onto the shoulder for no reason. Kimberly SCREAMS, swerving around the van just in time to avoid an accident. Frankie instinctively SHOUTS at the van. FRANKIE What's your problem, ya fuckin' crack baby?! INSIDE THE WHITE VAN ISABELLA CRUZ, late 20's and VERY PREGNANT, drives a delivery van full of funeral wreaths, crosses and classic rose urns. Most are marked : In Memory of Flight 180. She chokes back sobs into a cell phone as she pulls over. ISABELLA could n't Keep your dick in check for another month? I knew this would happen when I got pregnant. She pounds the steering wheel, furious. ISABELLA What'd the doctor say? I have to come in to test for STDs? Goddamn you, Jorge. A CRATE in the back of her van topples over and CRASHES and a flurry of sunflower petals sails out the window. Isabella jumps in surprise and, wiping tears from her eyes, rolls up the windows as petals shower the visor of - EUGENE, the Harley Rider, who smears the petals -LRB- and some squashed bugs -RRB- around his visor and drops back. INSIDE NISSAN SUV Kimberly falls back into the right lane and looks uneasy as she sees a TRUCK DRIVER guzzling from a flask as it passes the SUV, revealing its side is an ad for FIRESTONE TIRES. It finally clears frame, revealing a highway billboard that reads, `` DRUNK DRIVING KILLS.'' Kimberly reaches back and pulls on her seatbelt in spite of laughter from the back seat. Up ahead, the RUSTY CHAIN seems to have more give to it. LOGS STRAIN against it. Suddenly, a black cloud of exhaust from a blue'83 Chevette in front of them causes everyone to roll up their windows. OIL DRIPS from its rusty exhaust pipe. The thick exhaust BLINDS Kimberly. FRANKIE Gas it around these idiots. We do have 1200 miles to go, you know. Kimberly tires to enter the passing lane, but she's blocked by a SUBURU WAGON. In the front seat, a seven - year old kid is sadistically SMASHING two toy cars together. Kimberly passes the Suburu and pulls up to a PACER. The Harley roars by, startling her. INSIDE PACER NORA KESNER, 35, and her son TIM, 15. Tim drums on the dashboard with two ten - ounce Naya bottles. NORA Tim, will you cut that out? I ca n't even hear myself think. Tim frowns and then winces, holding his jaw. TIM Damn, it really hurts, Mom. NORA I know, we'll be there soon. Tim drops the Naya bottles on the seat. One of them quietly falls to the floor, rolls a bit, finally settling UNDER THE BRAKE PEDAL. INSIDE NISSAN SUV Kimberly is still behind the smoke - spewing Chevette. She passes it on the left. Frankie rolls down his window. FRANKIE -LRB- yells to driver. -RRB- Ever hear of the Ozone layer, asshole? INSIDE CHEVETTE RORY, 27, leans down to snort a line of coke off a Def Leppard CD case. S he looks up to see the Patrol Car is now behind him, he reflexively taps the brakes. Rory, eyes like saucers, sits rigidly transfixed at the wheel and nonchalantly wipes the CD clean on his pants. INSIDE NISSAN SUV She has dropped back behind the Chevette and CHP car and is running down along side of a BLACK TRANS AM. Up ahead she sees the Hig hway Patrol Car flick on its LIGHTS and pull into the shoulder around the Chevette and behind the Semi loaded with logs. INSIDE THE COP CAR As Thomas pulls in behind the log truck, his coffee cup lurches forward, spilling hot coffee all over his lap and the floor. THOMAS Son of a bitch. INSIDE TRANS AM Its driver, EVAN SCHAEFFER, 21, flashes a cocky smile at Kimberly, clearly making Frankie jealous. FRANKIE A Trans Am. That shit went out with New Kids on the Block. DANO Yeah. Who does he think he is? Knight Rider? FRANKIE -LRB- laughs ; then. -RRB- Who? Frankie leans out and tosses milkshake on Evan's window. DANO You know, Hasselhoff before he did Baywatch. Evan, pissed off, flips off Frankie. The windshield wipers smear around the thick milky fluid. The sun blinding him. KIMBERLY What's the chance of finding a nice mature guy once we get to Daytona? SHAINA How does a nice mature fuck sound? Kimberly laughs, then leans in close to Shaina. KIMBERLY Hey, thanks for talking me into this trip. Ever since my mom. I dunno, I just feel like I'm starting to live again, you know? Shaina smiles in understanding. INSIDE POLICE CRUISER Thomas bends to wipe up the mess. He only glances at the road as he tries to soak up the coffee. Suddenly up ahead, THE RUSTY CHAIN SNAPS! The logs roll off the side of the truck onto the highway. One bounces as it hits, and slams through Thomas' front winshield and out the back, taking Thomas' head with it. EUGENE slams on his brakes. His Harley slides out and he is SLAMMED to the ground, sliding at 60 miles per hour across the highway, right in front of the yellow mini - bus. The MINI - BUS DRIVER brakes to avoid Eugene. The FOOTBALL PLAYERS tumble forward and hit him in the head. He loses control and slides off the road onto the grass median. He blows a front tire and the mini - bus begins to flip, ROLLING several times int o the oncoming lanes of traffic, and is HIT by a MACK TRUCK. Eugene slides into a huge log, and hits it with a sickening crunch. Only to be HIT and CRUSHED by his sliding motorcycle. Rory looks up too late and REAR ENDS Thomas' car, EXPLODING the gas tank and HURLING Rory's dead body halfway through the windshield where it remains half in/half onto the hood. KAT, dialing, looks up, slams on her brakes, but SKIDS on oil from the Chevette. She swerves into Kimberly, SIDE SWIPES her, then swerves to miss a huge log - only to run head on into two more, flipping the Expedition end over end right next to Kimberly. Kimberly swerves back from being hit by Kat, just in time to see a huge log ahead. She tries to turn hard to the right to avoid it, but hits it broadside - Sending the SUV FLIPPING OVER the top of the log and SLIDING down the road. Inside, Shaina, Dano and Frankie are tossed around like rag dolls, shredded by glass and shrapnel - Frankie is EJECTED out the side window. Kimberly's SUV slides to a stop on its side. She looks back to her mangled but still alive friends and up in time to see NORA'S PACER Nora sees the collisions ahead and slams on the brakes but the fallen Naya bottle prevents her from braking, and she SLAMS into the back of Kat's Expedition. The crash test dummy collision folds her Pacer and it EXPLODES into a huge fireball. EVAN, blinded by the smeared windshield, is too late. He swerves his Trans Am around the burning cars onto the wet grass. Kimberly sees the topless Trans Am slowly roll out of a huge WALL OF FIRE and coast to a stop. Evan comes up battered and bloody but still alive. He is trapped in his burning car, screaming and trying to release the seatbelt. Then, just when she thought it was over, a HUGE SEMI slides thro ugh the wall of fire, SMASHING the Trans Am out of the way, SPINNING it like a top. With the back sliding at 90 degrees it keeps on coming. KIMBERLY'S POV The semi's grill comes right at her! CU ON KIMBERLY She screams and we - THE HIGHWAY O N RAMP - NISSAN SUV - 8 MINUTES EARLIER Sweating profusely, Kimberly's eyes dart around, taking in her surroundings. DANO -LRB- O.S. -RRB- Flight 180. You know, that plane crash with those kids from Mount Abraham. The Old Woman BUMPS the window - scaring the shit out of everyone. The kids ad - lib `` Let's go'' and `` Fucking Freak!'' Kimberly stares in horror as the Old Woman flashes an evil grin. Kimberly's eyes lower to the bag of oranges - Which BREAKS, exactly like before, and the Old Woman scurries after them. The signal turns from red to flashing yellow. FRANKIE Dano, should n't we stop and help your mother? DANO Blow me. Yellow means go, Kimberly. Kimberly hyperventilates in the driver's seat. Freaking. A yellow mini - bus with football players speeds past. KIMBERLY Oh my god, oh my god. Dano, confused, rolls a joint. SHAINA What is it? What are you? KIMBERLY There's going to be a huge accident! Everyone's gon na die. All of us! I saw it! Dano hums the Twilight Zone theme. FRANKIE That's it. My turn to drive. CLOSE UP - KIMBERLY SCREAMS! AND WE'RE BACK THE HIGHWAY ON RAMP Sweating profusely, Kimberly's eyes dart around, taking in her surroundings. DANO -LRB- O.S. -RRB- Flight 180. Y' know, that plane crash with those kids from Mt. Abraham? The Old Woman BUMPS the window - scaring the shit out of everyone. The kids ad - lib `` Let's go'', `` Fucking freak.'' Kimberly stares in horror as the Old Woman flashes an evil grin. Kimberly's eyes lower to the bag of oranges, which breaks, exactly like before and the Old Woman scurries after them. The signal turns from red to flashing yellow. FRANKIE Dano, should n't we stop and help your mother? DANO Blow me. Yellow means go, Kimmy. Kimberly hyperventilates in the driver's seat. Freaking. A yellow mini - bus with football players speeds by. KIMBERLY Oh my God, oh my God. Dano, confused, rolls a joint. SHAINA What is it? What are you? KIMBERLY There's going to be a huge accident! Everyone's gon na die, all of us, I saw it! Dano hums the Twilight Zone theme. FRANKIE That's it. My turn to drive. HONK! The drivers behind them start leaning on their horns. Kimberly leans out the window and sees the Chevette, the Pacer, The White Van, the Trans Am, the Harley. all the familiar vehicles from the pile up. She turns on the radio, frantically scans the dial. SHAINA Relax, you need to chill the fuck out. KIMBERLY Highway to Hell, Highway to Hell. SHAINA For Christ sakes girl, take a breath. D.J. -LRB- O.S. -RRB- Taking you into an all request weekend with a classic from AC/DC. The opening guitar riff to HIGHWAY TO HELL blares from the speakers. Kimberly turns to Shaina with a `` believe me know?'' look, but Shaina's nowhere near on the same page. HONKING behind them. Kimberly, shaking like a leaf, pulls the SUV forwards, turning it sideways to block off all traffic. DANO What the hell are you doing? Dano shifts in his seat and sees - a Highway Pat rol Car ominously cruising up the shoulder of the onramp. He shoves a bag of weed, along with the joint, down his pants. DANO Five - O's coming! Let's fucking roll, man! Officer Thomas Burke stops the car behind them. FRANKIE Jesus Christ! Here he comes! Move! KIMBERLY No! We'll all die if we do! The cop turns on his FLASHERS. DANO I told you she'd ruin everything! SHAINA Shut up, Dano, just stay cool. -LRB- to Kimberly. -RRB- He's just stoned. Officer Thomas Burke exits his car and approaches the passenger side of the SUV, hand on weapon. Thomas taps the window with his knuckle. THOMAS What's going on here? KIMBERLY -LRB- incoherent, through tears. -RRB- There's going to be a pile up. Logs. Bodies everywhere. I saw it happen. It happened. Thomas looks to the guys in back who shrug, `` we do n't know her.'' THOMAS Miss, please step out of the vehicle. As she does, Thomas discretely unsnaps his holster. RORY nervously eyes the action. Sneaks a paper bundle into his sock. ISABELLA, the pregnant woman in the White Van, gets out. She gives Thomas her friendliest smile, milking the pregnant belly. ISABELLA Excuse me, but is there some way we could just drive around? I have a delivery. Her CELL PHONE RINGS and she leans back inside to answer it. ISABELLA Hey hon, you got a mysterious caller on the answering machine from Planned Parenthood. What's going on? As she listens, growing agitated, the Harley Rider dismounts and pulls off his helmet. Revealing EUGENE DIX, 35, a nebbishy school teacher in cool leathers. INSIDE PACER NORA watches the SUV, distressed. NORA What on Earth are they doing? TIM -LRB- picking up two Naya bottles. -RRB- Who am I, David Blane? Nora gives Tim a hard stare, then they both break into smiles. Nora tousles his hair. And does n't stop. TIM -LRB- good - natured laughter. -RRB- Okay, quit it already. As he laughs, something pains his jaw and he winces. THOMAS is n't quite sure what kind of insanity he's dealing with yet. Dano and Frankie, no help, stare dead ahead. KIMBERLY -LRB- trying to calm herself. -RRB- The radio played the same songs, the old lady's bag broke the exact same way it did in my premonition. Kimberly erupts into a panic when she sees the LOG TRUCK speed past. She grabs at Thomas for emphasis. KIMBERLY THAT's the truck that's going to kill everyone! THOMAS Alright miss, calm down. I just need this lane open. I need you to pull your vehicle onto the shoulder! KIMBERLY You're not listening to me! You have to do something! EVAN impatiently yells out the window of his TRANS AM. EVAN Arrest this whack - job, wouldja? Some of us have lives, y' know. Kimberly looks to Shaina for support, but even Shaina ca n't meet her eyes. KIMBERLY Why wo n't anyone listen to me? Thomas, subtly reaching for his cuffs. THOMAS I'm not going to tell you to calm down again - A SERIES OF CRASHES AND EXPLOSIONS ARE HEARD. In the distance. It's neverending. Horrific. Kimberly's face crumbles. She screams in horror and collapses against the SUV. Thomas runs to his patrol car. The White Delivery Van makes a J - turn out of the line of cars and SPEEDS down the onramp in reverse, Isabella screaming angrily into her cell phone. ISABELLA You could n't keep your dick in check for a month?! The other drivers exit their cars, craning their necks to see what's happened up ahead. Kat takes a deep drag off her smoke. KAT Great, now I'm really gon na be late. Thomas barks into the radio handset - THOMAS L.A. 51, I need assistance and requesting paramedics for a major T.A.. At - INSIDE THE SUV Frankie watches the traffic start to back up as a couple of passing cars BRAKE HARD. Shaina anxiously watches Kimberly pacing behind the SUV. SHAINA Kimberly, what's going on? Kimberly moves toward Shaina's window. As she leans her head into Shaina's window, an ominous BREEZE blows back their hair and we hear the BLARING HORN of a TRUCK. And Kimberly is unexpectedly yanked backward by Thomas! From nowhere, a SHRIEK of BRAKES as a JACK - KNIFED TRUCK plow s the SUV across the frame! CRASH! Flying debris misses Kimberly and Thomas by inches! Kimberly cries in horror into Thomas' shoulder as her friends burn up in the wreckage.", "EXT. POLICE STATION - ESTABLISHING SHOT", "INT. POLICE STATION - CONTINUOUS CHAOS. Evan, the driver of the Trans Am, impatiently speaks to DETECTIVE SUBY, late 40s, professional with an open face that makes him a great listener. EVAN I do n't know what you want from me. Some crazy chic k blocks the highway with her car, said there'd be an accident and there was. Big deal. Even a broken watch is right twice a day. Officer Thomas Burke passes by, heading into -", "INT. A ROOM - CONTINUOUS Kat, Eugene, Nora, Tim, and Rory sit in a large room, waiting to give statements. Unlike Evan, these witnesses are clearly distraught. KAT Not to sound insensitive, but how much longer is this going to take? EUGENE If I do n't get back to my classroom soon, the kids'll tear the room apart. NORA Those poor people. To think it would've been us if not for. PAN OVER TO REVEAL KIMBERLY. She's still in shock, her mind far away. Thomas sits close to her, speaking softly. THOMAS Tell me again how it started. KIMBERLY Like I said, it was like I was there. I remember everything. The sounds of the crashes, the smells, the look on Shaina's face. THOMAS Do you remember what triggered it all? KIMBERLY The log truck. and everybody I guess. Everyone was driving like a maniac. And somehow I knew something horrible was going to happen, even before it did. Something clicks for Thomas, but he forces himself to speak calmly, like a lawyer leading a friendly witness. THOMAS You knew? You just mean a hunch, right? A bad vibe, maybe? The other drivers stare at Kimberly. KIMBERLY More than that. All the songs on the radio were about car crashes. Some kid's banging toy cars together. -LRB- lookin g at her. -RRB- She was dialing her cell phone with her headset on. -LRB- points to Rory. -RRB- His car was leaking oil all over the road. RORY Hey, do n't be knockin' the Chevette. But the others listen intently now. Especially Kat, who spies her headset buried deep in her purse. KIMBERLY Billboards about accidents. Kids yelling `` pile up'' for no reason. It all felt. just wrong. Just like. -LRB- swallows ; hesitates. -RRB- THOMAS Like what? Kimberly sighs and looks down. The room becomes eerily silent, except for the FLICKER of a florescent light. KIMBERLY I know this sounds crazy. but you all heard about Flight 180, right? The kid who got off the plane? Thomas' eyes widen - then a startling CRASH as Rory, le aning back in his chair, tips over. Thomas rolls his eyes as Rory grins sheepishly and picks himself up. THOMAS You mean Alex Browning. KIMBERLY -LRB- looking down. -RRB-. My Premonition was just like his. NORA What are you talking about? EUGENE -LRB- sarcastic. -RRB- Oh, you must have read about that kid who had a dream about a plane crash so he got his buddies off the plane? Then the thing blew up just like in the dream? NORA Maybe. Eugene sees Nora and Tim are hooked and speaks in scary campfire tones. EUGENE But this is where it starts to get freaky. So a month goes by, everything seems cool, but then the survivors start dying one boy one.'Cause when your number's up, it's up, right? Some people said Death itself started coming for them, hunting down every last one, until they were all dead. Everyone tenses up. THOMAS Well, not quite all of them. Clear Rivers checked herself into a padded room at Stoneybrook. Kimberly, affected, looks to Thomas for confirmation. KIMBERLY You do believe me, do n't you? BANG! Everyone jumps as Detective Suby pounds on the door and opens it. DETECTIVE SUBY Officer Burke? Could I see you in here?", "INT. OBSERVATION ROOM - CONTINUOUS The DOOR OPENS. Detective Suby enters, leading Thomas. Through a two - way mirror, they can see the others chatting anxiously. DETECTIVE SUBY Tell me you did n't start up on that Flight 180 shit again. -LRB- beat. -RRB- Did you? THOMAS Of course not. That would be irresponsible and unprofessional. Detective Suby's persistent glare makes Thomas uncomfortable. THOMAS Look, you were n't there. It was weird. She knew that log truck was gon na cause an accident, she knew. -LRB- beat. -RRB- Never mind. DETECTIVE SUBY I thought we we re finished with this bullshit. This is police work, not the psychic Hot Line. But Thomas is n't listening. He's glued to Kimberly's words. When Detective Suby realizes this, he stops and listens. KIMBER LY But if I was never meant to pull over, then we all should have died in the pile up. TIM Which means Death could be coming for us. Detective Suby looks pissed o ff. DETECTIVE SUBY Way to console the witnesses Burke. At the same time, we watch Evan enter the other room, grab his jacket and wave goodbye to the others. DETECTIVE SUBY You got'em thinking Death is after them? Shit, they're the luckiest sons o' bitches on the planet. Get this guy Evan Shaeffer ; Yesterday the kid wins the lotto and today some looney bitch b locks traffic and he avoids the worst pile up in years. I should be so damn unlucky.", "INT. A ROOM - CONTINUOUS Kimberly, Nora, Tim, Kat, Eugene and Rory now seem affected by what they've heard. KAT What if it's true? What if it's happening all over again? The fluorescent light above FLICKERS ominously. Nora, disturbed, stands up in a huff, grabbing Tim's arm. NORA You're all certifiable, you know that? I ca n't believe I've been listening to this crap. Come on, Tim, let's go outside. TIM Jeez, Mom, stop trippin'. EUGENE Look lady, we're just yankin' your chain. RORY Yeah, you're acting like we all just got the Diff ` rent Strokes curse or something. Eugene and Rory burst out laughin g. Nora shakes her head, disgusted. NORA What's wrong with you people? Nora pulls a reluctant Tim out of the room. As she opens the door, the others watch Detective Suby and Thomas appear from nowhere to calm her down. When the door swings shut, an awkward silence. Suddenly, the door opens again and Thomas leads Mr. Burroughs inside. Mr. Burroughs sees Kimberly and chokes back tears. MR. BURROUGHS Kimberly. The sight of her fath er crying is enough to make Kimberly's own dam burst. She rushes over to him and buries her head in his chest, sobbing. MR. BURROUGHS Can I take her home? Thomas nods. DETECTIVE SUBY Sure, you can all go. By now, the fluorescent light flickers out of control. When Rory, Kat and Eugene stand up, Thomas looks helpless. KAT First I'm stuck with Jury Duty, now this nonsense. RORY Yeah, I hate to love and leave ya, but I've been over this X - Files shit since the sixth season. As Thomas watches them file out, the fluorescent light POPS. Then DARKNESS.", "INT. KITCHEN - DAY Kimberly sits at the table. Mr. Burroughs sets down a cup of tea before her. Both are shaken. KIMBERLY I know it's crazy, but I'm really scared for the others. I've got this terrible feeling. MR. BURROUGHS What feeling? KIMBERLY That it's not over yet. She picks up the tea, it clatters in her trembling hands. MR. BURROUGHS Don' t worry. Everything will be fine, you'll see.", "INT. EVAN'S STAIRWELL - DAY A dingy singly light bulb illuminates the narrow stairwell. Evan appears in the darkness, carrying a brand new television with some packages on top. He's unable to s ee the long rickety stairwell he climbs. The stairs are littered with Chinese take out MENUS and a TONKA TRUCK apparently left by some kids. As Evan slowly climbs the staircase, a FAT MAN comes down, forcing Evan to lean against - THE RAILING - which CREAKS and BENDS. After the FAT MAN passes, Evan slowly continues up again, TEARING HIS SHIRT on a nail. EVAN Motherfucker. A HEATING DUCT CLICKS ON. The air blows a TONKA TRUCK slowly toward the center of the staircase, directly in Evan's path - but Evan just misses it! He continues past MORE TOYS, nearing the top stair - The Airduct coughs, sending menus fluttering toward Evan's feet and he slips on them! He juggles the TV - but ultimately rights himself and continues down the hallway.", "INT. EVAN'S APARTMENT - CONTINUOUS Dim, cheap, probably roach - infested. As Evan enters, the small packages fall off the TV box and onto the floor. Evan places the TV by the door, looks at his torn shirt, but fuck it, who cares ; he's on a natural high. He peels his shirt off, revealing his PIERCED NIPPLES, flicks on the radio and DANCES his way over to the fridge and grabs a drink. In the tiny kitchenette area, a small swarm of flies hovers over a grease - filled frying pan. Evan recoils, throws open the window and throws the grease to the sidewalk five stories below. An ominous BREEZE enters - And a kitchen cabinet slowly BLOWS OPEN. Some FORKS and KNIVES slide forward on poorly stacked plates. Daring to fall into the toaster. Evan spills some cooking oil on the range while pouring it into the frying pan, then dumps in some frozen mozzarella sticks. Evan puts the frying pan on the stove and turns it on HIGH. He then grabs a container of CHINESE FOOD and rests it on the counter next to the fridge. On the fridge, several colorful MAGNETS spell out HEY E. PUSH IN on the H - which mysteriously drops into the Chinese food - the word EY E remaining. Oblivious, Evan puts the food in the microwave and turns it on. ANGLE ON STOVE The cooki ng oil creeps toward the range. Evan hits PLAY on his answering machine and rushes across the room to tear open his packages. VOICE -LRB- O.S. -RRB- Dude! You suck! You buy one fucking ticket in your whole life and win twenty grand? We're going whoring in Prague, you know this! -LRB- whisper. -RRB- Hold on, the boss is coming. A CLICK, then hold MUZAK : AC/DC's HIGHWAY TO HELL. ANGLE ON MAGNET in Chinese fo od. SPARKING. It pops and fizzles. And ugly sound. As many similar messages continue, Evan unwraps a new ROLEX! He slides it over his wrist, admiring it. ANGLE ON KNIFE Lazily sliding off the shelf and into the toaster, protruding about an inch and a half. Hardly noticeable. By now, Evan has opened the next package ; a gaudy gold and diamond encrusted horseshoe ring. He carries the ring into the kitchenette, sees the Chinese food is FLAMING, and his hands flash out to turn it off - A SMALL EXPLOSION from the microwave startles him. The RING falls into his drain/garbage disposal! EVAN Damn it! Evan reaches INTO THE DRAIN, his fingers searching for the ring. When he tries to pull his hand back out, the ROLEX CATCHES. Another small EXPLOSION from the microwave, this one cracking the GLASS. A Solo Plastic Cup nearby begins to melt. Flames sputter around the rim of the frying pan. In moments, the oil from the pan IGNITES. A small fire. Evan sees all this and YANKS with all his might. No use. As the FIRE slowly spreads to nearby cereal boxes, Evan starts to panic. He continues yanking. Stuck. He sees a bottle of PALMOLIVE on the other end of the counter. His fingers reach for it. Slightly out of his grasp. But his fingertips are just long enough to knock the bottle backwards - where it rests against TWO SWITCHES. The FIRE ALARM goes off. The PHONE RINGS. Evan desperately lifts his leg and tries to use his foot to edge the Palmolive over. By pushing the bottle up against the wall, it threatens to turn on one of the switches. ANGLE ON FINGERS In the GARBAGE DISPOSAL. A SWITCH is flipped - but the light goes on. And the Palmolive lazily falls, resting on the remaining switch. EVAN Come on, come on. Evan makes one last push with his foot - accidently flipping the SWITCH - the GARBAGE DISPOSAL GRINDS METAL! Evan, horrified, miraculously yanks his hand free, brushing against the knife in the toaster. When the SHOCK goes through Evan's body, his other hand jerks out, knocking the flaming frying pan to the floor. The entire kitchen is in flames, including the new TV blocking the door. The window slams SHUT! The room fills with smoke. EVAN Jesus Christ! Evan grabs a fire extinguisher. A mere dribble of foam comes out. He begins COUGHING in the smoke. Evan tries the window - STUCK! He has no choice but to smash the kitchenette window with the fire extinguisher to get to the fire escape. He dr ops the fire extinguisher, starts to climb out the window, hears a creak and looks up just as - A large jagged shard of glass comes CRASHING down at him - Evan jumps back just in time as it shatters before him. The fire completely engulfs the kitchen. He bravely jumps through the window pane, landing on the fire escape. He runs down the fire escape from floor to floor. A LARGE BLAST from his window showers him with glass and brick shrapnel, but ultimately, he makes it to the fire escape's lowest level, intact. He tries to lower the rusty metal ladder to the ground. It budges once, then twice, but wo n't go down. So he climbs over the railing and gently drops to the ground. Safe and sound, he breathes a sigh of relief and turns to walk - SUDDENLY he s lips on the very grease he threw out the window, his legs shoot out from under him and he lands on his back. The rusty ladder suddenly dislodges and hurls downward - coming right for Evan's face - but stops halfway! As Evan laughs, breathing a final sigh of relief, it suddenly PLUMMETS again - impaling Evan through his eye socket!", "INT. POLICE STATION - COMPUTER ROOM - NIGHT Thomas sits at the computer terminal. He checks to make sure no one's watching as he enters a SEARCH for Alex Browning. Ten websites come up, all devoted to the Flight 180 Curse. Thomas scrolls around, seeing the death pix and autopsy photos of Flight 180 `` survivors''. Headlines blare, `` Freak Accident?'' `` Bizarre Coincidence?'' describing the way the victims died. As Thomas begins a localized search of the word, `` PREMONITION'' - SPOOKY HUMMING from behind him. Thomas whirls around to see Det. Suby looking over his shoulder, humming the music from an old monster movie. Suby presses one hand to his forehead, the other polishing an apple against his vest. DETECTIVE SUBY -LRB- as if entranced. -RRB- Ooooh, I see it now. Your future. A transfer to another department. Suby bites the apple, casually offering nothing more. Thomas, embarrassed, flicks off the computer, stands. THOMAS You've made your point. DETECTIVE SUBY Good. Cause we just got some new info and I do n't ne ed you getting freaky on me. THOMAS What? DETECTIVE SUBY Evan Shaeffer's dead. Guess he was n't as lucky as we thought. Detective Suby shrugs and walks away, munching the apple. Thomas looks stunned.", "INT. KAT'S ROOM - NIGHT Kat cradles a phone to her shoulder. She watches television and crushes Oreos into a bowl of ice - cream. KAT No, Mom. Just turn on any station, they've been playing it all day. -LRB- beat ; rolls her eyes. -RRB- Yes, Mother. Channel four will do just fine. Here it is, got ta go. She hangs up the phone, mesmerized by the report : FOOTAGE FROM A HELICOPTER shows the pile up wreckage. ANCHOR MAN -LRB- V.O. -RRB- Route 18 was backed up for almost nine hours today when a record breaking pile up.", "INT. NORA'S LIVING ROOM - CONTINUOUS Nora and Tim watch the same report. ANCHOR MAN -LRB- V.O. -RRB- killed An estimated 18 people. Emergency crews spent hours sifting through the wreckage.", "INT. EUGENE'S LIVING ROOM - CONTINUOUS Eugene looks up from grading midterm bluebooks to watch. ANCHOR MAN -LRB- V.O. -RRB- hoping To recover any survivors from this tragic collision. So far, the police are refusing to release the names of the victims until their families are notified.", "INT. KIMBERLY'S HOUSE - CONTINUOUS Mr. Burroughs numbly watches the same report. He does n't see Kimberly enter behind him from the kitchen. ANCHOR WOMAN -LRB- O.S. -RRB- The camera of a highway patrol car managed to catch this shocking footage - B/W CAMERA FOOTAGE from Thomas' car shows Thomas tackling Kimberly to the ground just as a jack - knifed truck plows into the SUV. MR. BURROUGHS My Lord. A GASP from behind him. Mr. Burroughs spins to see Kimberly fighting back tears and picks up the remote, prepared to click of the TV - but she stops him. KIMBERLY Do n't. I have to see this. Mr. Burroughs reluctantly keeps the newscast on.", "INT. RORY'S APARTMENT - CONTINUOUS It's a party. Rory, surrounded by BUDDIES, shakes a triumphant fist at the television. HE WHOOPS with delight, spilling popcorn everywhere. RORY Whoohoo! You see that shit? Right there? That's my fuckin' car right there! Oh God, that's dope. After high - fiving his peeps, he bends to table level and snorts a freshly chopped line. ANCHOR MAN -LRB- O.S. -RRB- In other news, a freak accident took the life of a lotto winner. Rory looks up to see the DMV photo of Evan. As he takes in the report, his mood radically shifts. He looks like he's been hit by a train. MONTAGE Of Kimberly, Nora, Tim, Eugene and Kat watching. They all take the news very hard as the FOOTAGE shows Evan's BODY being carried away by EMT workers. Eugene, however, shakes his head sadly but goes back to grading blue books. TIM'S BEDROOM - LATER Tim's eyes are glued to the latest Stephen King novel. Nora peers in. NORA Come on, Tim, lights out already. Tim starts at her voice, then reluctantly puts down the book. TIM Mom? NORA Yeah? TIM You think. You think those guys were b.s. - ing us today or what? Nora swallows, trying to seem brave. NORA Oh, please. Some people just need some serious rewiring, that's all. But neither of them are convinced. NORA Get some sleep. Nora kisses his forehead and leaves the room. After she leaves, Tim opens his nightstand drawer, pulls out a dusty nightlight and plugs it in.", "INT. NORA'S BEDROOM - MOMENTS LATER Nora closes her bedroom door. And locks it. She nervously checks the closet and even lowers the blinds. Finally, she takes out a business card and dials a number. She hangs up, then dials again. NORA Officer Burke, please?", "INT. KIMBERLY'S ROOM - CONTINUOUS Mr. Burroughs tucks a still - shaken Kimberly into bed. In one of his hands is a nearly empty glass of scotch. KIMBERLY It's okay, Dad. I'm not ten anymore. Mr. Burroughs catches himself being overprotective. MR. BURROUGHS I'm sorry. I'm just so happy that you're safe. KIMBERLY I love you too, Dad. Goodnight. But Mr. Burroughs is n't ready to leave. He finishes his drink. MR. BURROUGHS You know, after your mother died. Kimberly tenses, bracing for the worst. MR. BURROUGHS There were so many times I did n't think I could last another day. I ca n't even tell you some of the things I th ought about. KIMBERLY I used to have those feelings, too. But that's when I'd think of Mom. Her strength. and courage. And I'd pray that maybe I'd grow up to be as brave as she was. And the bad thoughts would go away. MR. BURROUGHS -LRB- choking up. -RRB- I do n't know what I'd do if I lost you. Mr. Burroughs leans over, kisses her forehead and leaves. Just as he's out the door, he braces at the distant sound of a CAR SKIDDING out of control. The ENDLESS SCREECH is nerve shattering. Mr. Burroughs stands frozen, tensing for the inevitable crunch. But there is none. And he leaves.", "INT. KIMBERLY'S ROOM - NIGHT The room is dark except for one burning candle. Kimberly tosses and turns. The wind sends a single branch scraping against her window. A porch swing SQUEAKS back and forth. Adding to her anxiety. A BREEZE ENTERS, sputtering out the candle. Kimberly sits upright in bed and sees the WINDOW IS SHUT. Huh? She lights a match and sees the candle wax dripped onto her table, forming the gooey shape of a. 180? The match goes out in her hand. The room is dark again. Headlights fr om passing cars cast eerie shadows on her ceiling. Shadows resembling PLANES seem to transform into a SKULL. Kimberly, freaked out, looks around to see the blinking light from the VCR : it flashes 18:0 a few times, then 12:00. She ca n't take it anymore. She yanks the VCR cord from the wall and flicks on the lights, ridding the room of shadows. And anxiously turns on her computer.", "EXT. STONEYBROOK HOSPITAL - DAY Kimberly drives a beat up Hyundai through an eerie morning mist that surrounds the grounds of the Stoneybrook Hospital. ANGLE ON A computer printout in the shotgun seat : MAPQUEST directions to `` Stoneybrook Hospital''. As Kimberly drives through the gate, the mist almost seems to follow her inside. A SIGN offers a choice between `` Emergency/Medica l Care'' or `` Psychiatric Treatment Center.'' Kimberly drives to the mental ward.", "INT. MENTAL WARD - DAY A PHYSICIAN in a lab coat leads a nervous Kimberly down the center of a long corridor. The Physician consults a clipboard. PHYSICIAN at the request of the patient, you are to relinquish any sharp objects such as nail files, pencils, pens, safety pins, bobby pins, no matches, lighters, belts, belt buckles, earrings, chokers, shoelaces. Kimberly watches carefully as the Physician comes to a door and punches `` 4514'' into the electronic lock. They continue down another corridor. Lights flicker, patients cackle and moan in the B.G. PHYSICIAN paper clips, watches, food, drinks, keys, poisons, pills and medications. -LRB- looks at Kimberly. -RRB- You have a cell phone on you? Kimberly nods, hands it over. PHYSICIAN Then I think we're all done. They arrive at a door to a padded room. The Physician punches in another code. KIMBERLY Wait. Is she. dangerous or something? PHYSICIAN No honey, but she expects you are. KIMBERLY Jesus, how long are you going to keep her locked up this way? PHYSICIAN Depends on her, I guess. She's voluntary. The door hisses open.", "INT. CLEAR'S PADDED ROOM - CONTINUOUS REVEAL CLEAR RIVERS While still beautiful, this young woman bears few traces of her former self. Her eyes dart around suspiciously, maddened by chronic paranoia. Her hair is patchy, her eyes dark and haunted. Bordering on savage. Her movements are fidgety, erratic, always distracted by something unseen. KIMBERLY Clear Rivers? Clear looks Kimberly up and down and steps back, allowing her inside her inner sanctum. A mattress on the floor, a plastic bottle of water, some paperbacks and a bedpan. Kimberly's jaw drops when she sees the far wall : a SHRINE to flight 180. The wall is papered with art icles about all the survivors -LRB- as seen in the opening title montage -RRB-. The door SLAMS. Kimberly jumps. CLEAR Kimberly Burroughs, eh? What do you want? KIMBERLY I thought. I thought you might be able to help me. CLEAR -LRB- snicker. -RRB- Yeah, how? KIMBERLY I had a premonition about the Route 18 pile up. I saved some people. And now I think Death is after me. CLEAR Nice work. Maybe if you're real lucky, you'll wind up in here with me. -LRB- gives Kimberly the once over. -RRB- But I doubt you'll survive that long. Kimberly flinches. KIMBERLY It's not just about me. Someone I saved died last night in a freak accident. What if the others are in danger, too? CLEAR Well, if you put them on the list, they're already tits up. KIMBERLY What list? CLEAR Death's list. The precise order you're going to die in. Clear's eyes bore into a terrified Kimberly's. CLEAR The survivors of Flight 180 died in the exact order they were originally meant to die in the plane crash. That was Death's original design. KIMBERLY -LRB- sudden realization. -RRB- Exact order? Then I'm next! I was meant to die with my friends, so I'm next! Clear backs away from Kimberly as if she were lethal, then stops short. CLEAR But you said someone else died last night. That means Death skipped past you. Someone must have intervened. -LRB- off Kimberly's confusion. -RRB- Sometime yesterday you must have nearly died, but someone saved you. Kimberly nods, recalling the events. KIMBERLY Officer Burke pulled me away from the crash that killed my friends. CLEAR Congratufuckinglations. That makes you last to go. But do n't worry, once the others are dead, it'll come back for you. Always does. KIMBERLY That still does n't make sense. You said you die in the same order you were originally meant to. But Evan Shaeffer died last in my premonition, not first. Clear seems very disturbed by that. CLEAR It's moving backwards? Are you sure? Kimberly reluctantly strains to remember something. THE FINAL MOMENTS OF THE PILE UP Nora's Pacer folds like an accordion, then EXPLODES, followed by Evan screaming in the Trans Am, which gets CREAMED by the semi! Kimberly, shaken, does the math. KIMBERLY Yes. In my premonition that Nora woman and her kid died first, then Evan and then. my friends. Clear is oblivious when Kimberly breaks into silent sobs. CLEAR Backwards. that's new. Clear sees Kimberly crying and softens. CLEAR That's good. Get all your tears out now, you'll need your eyes. -LRB- off Kimberly's confusion. -RRB- For the signs. KIMBERLY Signs? CLEAR If you have the same power as Alex, you'll be seeing signs soon. When you see anything creepy or ominous, an in - your - face irony kinda thing? Do n't ignore it. It usually means the difference between life and death. KIMBERLY -LRB- to herself. -RRB- The songs on the radio. -LRB- to Clear. -RRB- But wait. I do n't understand. Why is this even happening to me? CLEAR That's what Alex used to ask himself right up until. For an instant, we see a gentle side of Clear. KIMBERLY It's obvious you know what you're talking about. You beat it. You have to help us. Clear suddenly toughens up, an abrupt mood shift. CLEAR I did n't beat it ; I hid from it. If you were smart you'd put a down payment on a burial plot and say goodbye to the dog, because what little life you have left is over as you know it. Do n't make new friends, do n't fall in love, and do n't ever bother trying to save others. That's the worst killer of them all. KIMBERLY How can you say that? What kind of monster are you? At once, Clear, enraged, is in her face, speaking through clenched teeth. CLEAR My family is dead. My friends are dead. And Alex. Clear angrily peels a Polaroid off the wall and shows it to Kimberly. While we do n't see the photo, Kimberly's horrified face paints a gruesome picture on its own. CLEAR And yes, that's the blade of a fucking ceiling fan in his head. Clear pounds on the door, apparently done with Kimberly. A GUARD opens the door. Kimberly, devastated, turns to leave, then summons her courage and turns back to Clear. KIMBERLY Know what? I think you're a coward. I think you hide out in here because you're too damn bitter and selfish to care about another living soul. In my opinion, you're already dead. Kimberly leaves, giving Clear something to think about.", "EXT. KIMBERLY'S HOUSE - DAY As Kimberly pulls into her driveway, she's surprised to see a STRANGE CAR parked there. Then - THOMAS, wearing street clothes, peers through the front window of the house. He guiltily backs away as Kimberly gets out. THOMAS I tried calling last night but your father - KIMBERLY Evan Shaeffer's dead. Thoma s nods and leans against the large glass windows that reflect the sky behind them. THOMAS I know. I've gotten calls all morning from everyone who was on the onramp. We're all meeting at my apartment tonight. KIMBERLY Then you believe all this? That Death is working off a list? Thomas hesitates before answering. THOMAS I did n't. Until I was dispatched to clean up one of the Flight 180 survivors. KIMBERLY Clean up? I do n't. Suddenly through the reflection of the window glass, Kimberly sees hundreds of pigeons dive bomb her at once! Like a scene out of THE BIRDS, Kimberly must duck and cover as the pigeons assault her from every angle. But when Kimberly turns away from the reflection, toward the actual pigeons, THEY'RE GONE. ALL IN HER HEAD. KI MBERLY Did you see that? Thomas, concerned for her, saw nothing. KIMBERLY Pigeons. It's a sign! If Clear's right about the order, then Nora and Tim are going to be attacke d by Pigeons! THOMAS I'm not following you - KIMBERLY They're next on the list. We have to find them.", "EXT. MEDICAL COMPLEX - DAY ANGLE ON Woman's N ike shoe on a down - moving escalator. Reveal Nora taking her son Tim to a dentist's office. The SHOELACE snags on a bolt of one of the steel side panels, untying it. TIM -LRB- mischievous smile. -RRB- You think the tooth fairy's gon na come tonight? I'm thinkin' like fifteen bucks. NORA Nice try, kiddo. Tim smiles, then winces from the pain in his mouth. THE DANGLING SHOELACE heads straight for the escalator grate. IT GETS SWALLOWED UP. As Tim steps off, Nora TRIPS forward. Her caught sneaker is pulled tighter into the innards of the metal staircase. TIM Mom! Tim watches helplessly as Nora reaches down, tug ging at her sneaker, fear mounting. Tim also grabs her sneaker and yanks. Finally, the shoelace SNAPS, and Nora's free again. TIM You okay? Nora puts on a brave face and begins tying one long shoelace to the stubby one. NORA Sure hon. I'm fine. Let's shake it, we're late. Tim nods. The wind picks up as they continue past a - CONSTRUCTION CREW Who apply industrial suction cups to large, thick sheets of PLATED GLASS. Tim stares in childlike fascination as they pass JACKHAMMERS, a CEMENT MIXER, and an EXCAVATOR.", "INT. CLEAR'S PADDED ROOM - DAY Clear Rivers applies fun - tack to the back of a newspaper article and sticks it on the wall devoted to Flight 180. REVEAL A photo of Eva, `` Lotto Winner Killed By Ladder''. Clear backs away, pausing to look at a group photo of the Survivors of Flight 180 just before take off. Smiling faces. TIM Not so much. Dr. Lees keeps a skeptical smile to himself.", "INT. WAITING ROOM - CONTINUOUS The RECEPTIONIST appears next to the fallen fish food with a VACUUM. She plugs it in an outlet below the fishtank. A startling GRIND as the vacuum turns on and coughs up a nail. She vacuums up the fish food around Nora's feet. The DEAD FISH gets sucked into the water filter in the fishtank which sputters and stops. The water level RISES, spilling water over the side of the tank. The water TRICKLES closer to the outlet.", "EXT. SUBURBAN STREET - DAY Thomas drives his car into a friendly neighborhood. Kimberly, riding shotgun, hangs up her cell phone. KIMBERLY Turn around. The cleaning woman said they're at the dentist's. 14th and Main. THOMAS Hold on. Thomas expertly skids into a U - turn.", "INT. DENTIST OFFICE - CONTINUOUS Tim looks petrified as Dr. Lees unveils a tray full of PICS, CARVERS and EXTRACTING FORCEPS. The KA - CHUNG of construction outside makes it im possible to concentrate, but, hands trembling slightly, Dr. Lees picks up a pic and mirror and starts examining Tim's mouth. CU of PIC gently prodding Tim's teeth. DR. LEES -LRB- O.S. -RRB- I'm a little disappointed, Tim. Does your mom know you've been smoking? Tim groans `` uh - uh'', then suddenly flinches. DR. LEES -LRB- O.S. -RRB- Yeah, that'll have to be filled. A BANG from the window startles Dr. Lees. His HAND JERKS, but luckily the pic was removed from Tim's mouth. Dr. Lees whips around in time to see a PIGEON flutter away from the window. DR. LEES Jesus. Every day at the same damn time. Now this'll only sting for a moment. Dr. Lees picks up a large SYRINGE and moves it toward Tim's open mouth. DR. LEES Open big. Wiiiiider. Tim's eyes radiate fear. The MOUTH OPENS. Reluctantly. Tim nervously eyes the window as the needle enters. ANGLE ON NEEDLE heading toward his gumline - BANG! Another pigeon takes a header into the reflection. Dr. Lees' hand jerks, nearly jabbing Tim's tongue. Tim squirms violently. Dr. Lees looks towards the window angrily. DR. LEES How the hell do they expect me to. Would you rather have the laughing gas? Tim nods his head ferociously. DR. LEES Jean? I need you in here. -LRB- waits. -RRB- Jean?!", "INT. WAITING ROOM - CONTINUOUS Jean continues vacuuming. The vacuum makes contact with Nora's foot.", "INT. DENTIST OFFICE - CONTINUOUS After a minute, Dr. Lees angrily switches on two compressors : Oxygen and Nitrous Oxide. By now, the NO mask has been attached around Tim's nose. As Tim drifts off, Dr. Lees lowers a DRILL into his mouth. DR. LEES Open big. Wiiiiiider. Excruciating SOUNDS of the drill going through enamel. INTERCUT KIMBERLY AND THOMAS Racing to the medical complex throughout. THE WAITING ROOM The WATER TRICKLES into the outlet. The vacuum sparks and dies just as - BACK IN DR. LEES' OFFICE BANG! SFX : BROKEN GLASS - it sounds like a pigeon finally crashed through the window. In the other room. DR. LEES Goddamn it already. Dr. Lees marches out of the room to investigate. Another quick electrical surge and the OXYGEN COMPRESSOR flutters off. The needle drops. But the NITROUS flow remains strong. ANGLE ON FISH MOBILE Spinning from a new breeze. Suddenly, a small round PUFFER FISH FALLS directly into Tim's mouth. Soft, gurgling and choking.", "INT. WAITING ROOM - CONTINUOUS Nora stares at a pigeon with a broken wing frantically trying to fly right. Dr. Lees makes a half - hearted attempt to soothe and catch it. BACK IN DR. LEES' OFFICE SLOW DOLLY up to Tim. Choking, gurgling. His eyes are open, but rolled up. His hand limply reaches up. then drops. Sounds of commotion in the next room seem to fade away as we continue our SLOW DOLLY into Tim's eyes. They GLAZE OVER. the choking stops. And a HAND reaches into frame and pulls the puffer fish out of Tim's mouth. REVEAL JEAN looking petrified at the close call, looking around to make sure nobody saw.", "EXT. MEDICAL COMPLEX - LATER Nora and Tim, feeling better now, walk past the CONSTRUCTION CREW. A CRANE OPERATOR smiles at Tim, who smiles back. From across the mall, the tiny running figures of Kimberly and Thomas appear in the dis tance, pointing and screaming. TIM What are they doing here? And why are they yelling `` pigeons''? Just then, Tim and Nora walk into a large cluster of PIGEONS who suddenly burst into flight, startling the Crane Operator, whose hand inadvertently jerks a lever - A METALLIC CHAIN RATTLE fills the air and Tim looks up just as a HUGE SHEET OF GLASS PLUMMETS downward toward him and CRUSHES him, his mangled body visible underneath. As two pearly whites roll around on the sidewalk, NORA SCREAMS.", "EXT. MEDICAL COMPLEX - LATER Emergency vehicles everywhere. Thomas seems exhausted as he walks back to Kimberly, who stands by his car. In the BG, EMTs load a stretcher into an ambulance. THOMAS -LRB- shaking his head. -RRB- Nora's not coming. She refuses to leave her son. KIMBERLY We have to tell her she's in danger! THOMAS -LRB- sadly. -RRB- I did. And right now, I do n't think she cares.", "EXT. KIMBERLY'S HOUSE - DAY Thomas' car turns into the driveway and parks. Kimberly holds up her hand and watches it tremble. KIMBERLY It's happening again. It's fucking happening again. I hoped we'd get there and they'd be okay, that Clear Rivers was full of shit and Evan's death was just a freak accident. Thomas kills the engine to listen. KIMBERLY But we're all going to die. We ca n't stop it. It's just a matter of time. I'm so scared. Thomas takes her hand and squeeze s it reassuringly. THOMAS I am too. But you can use that fear. It'll sharpen your instincts. Keep you alert fro signs. It's the only way you'll be able to sav e the others. and me. Kimberly, seeming overwhelmed, pulls her hand back. Thomas senses he's losing her, and softens her approach. THOMAS I know you did n't ask for any of this, Kimberly. But I do n't think you have it in you to quit either. Kimberly stares straight ahead, the weight of the world sinking in. BANG! A startling pound on the roof of Thomas' car. Kimberly jumps, then spins around to see : CLEAR RIVERS - standing in the driveway. A determined, powerful presence. Kimberly exits the car. A MOMENT where Kimberly and Clear stare each other down. KIMBERLY Clear/Thomas. Thomas/Clear. Clear nods absently to Thomas, still focused on Kimberly. KIMBERLY -LRB- bitter. -RRB- The second one just dies. A 16 year old kid. CLEAR -LRB- nods ; a faint trace of guilt. -RRB- I hope you're ready for this.", "EXT. FUNERAL HOME - DAY Thomas' car pulls into a partially filled parking lot. Kimberly, Thomas and Clear file out and head to the door. KIMBERLY This is cheery. THOMAS Who is this guy, anyway? CLEAR A mortician. He seemed to know a hell of a lot more about death than he ever told us. THOMAS Should we knock? CLEAR -LRB- looking ill. -RRB- He probably already knows we're coming.", "INT. FUNERAL HOME - MOMENTS LATER Kimberly, Thomas and Clear open the large wooden doors into a small chapel, creat ing a loud CREAK. A corpse in an open casket sits at the front of the chapel, post - wake. Kimberly, Thomas and Clear are forced to walk around the dead body to get to a side door.", "INT. CORRIDOR - MOMENTS LATER The three slowly edge towards a room at the end of a creepy hallway. An ORANGE GLOW flickers from the far room. The unmistakable sounds of a furnace make it all the more eerie. As they near the door, they're able to see inside the room ; the shadow of a figure looms against a steel oven. They edge closer. They peek inside the -", "INT. CREMATORIUM Oddly there is no one there. As they enter, passing the furnace, a momentary WHOOSH of flames startles them all! They jump back - bumping right into : MR. BLUDWORTH, the dark, sinister mortician from FD1, who has inexplicably appear BEHIND THEM. MORTICIAN Hello, Clear. I've been keeping an eye out for you. The mortician rolls a metal gurney carrying EVAN'S EYELESS BODY toward the firing oven. Kimberly and Thomas are scared. KIMBERLY Oh my God. That's Evan Shaeffer. Clear, however, seems to expect nothing less. MORTICIAN Come to. Pick my brain? The Mortician slides a gleaming set of medical pliers into Evan's mouth. And YANKS out a gold tooth. Kimberly recoils as he discards the bloody tooth on a metal tray. MORTICIAN -LRB- to Kimberly. -RRB- Flesh and bone require 1,600 degrees for cremation. Gold, prosthetics and other metals must be removed before the final - CLEAR -LRB- not falling for this again. -RRB- Just a simple question and we'll leave you alone with your new friend. The Mortician grins ; he likes the new Clear. He crosses the room and hits a LEVER. KA - CHUNK! The oven begins to blaze. MORTICIAN Fire away. CLEAR How do you cheat Death once and for all? The Mortician, recrossing the room, passes Kimberly and stoops down to sniff, no INHALE, a terrified Kimberly's essence. MORTICIAN Dead. But still fresh. Kimberly shudders as the Mortician moves back to Evan's body. Clear has had about enough. CLEAR -LRB- to the Mortician. -RRB- Look, we drove a long way to get here. So if you happen to know how to get this death monkey off our backs, it sure would be swell if you told us. The Mortician now CLAMPS THE PLIERS around Evan's NIPPLE RING. MORTICIAN For what purpose? You seek a back way out of a room with but one door. You ca n't cheat Death ; there are no escapes. CLEAR Bullshit. You told me Death has a distinct design, a blueprint, unalterable. But Alex and I cheated Death not once, but dozens of times. If the design is flawed, it can be beaten. A sick smile crosses the Mortician's lips. He yanks the nipple ring OFF! Kimberly looks on both horrified and awed when Clear does n't flinch back from the pliers, where a bloody nub dangles. MORTICIAN Such fire in you now. People are always most alive just before they die. Do n't you think? Clear steps back from him, hate flashing in her eyes. CLEAR It can be beaten. And you know it. CREEEAAAK - SLAM! The Mortician rolls Evan's body into the oven. MORTICIAN Some say that there is a balance to everything. An equilibrium that is the connective tissue of the universe. They say that for every lif e there is a death, and for every death a life. His words hang in the air. An ominous BREEZE enters. MORTICIAN Solus novus anima licet evinco mortis ; Only new life can defeat death. -LRB- off their confusion. -RRB- The list of life is forever set by the Divine Plan, the guiding hand that plots the course of the universe, down to its tiniest element s. Thomas looks to Clear ; what's he talking about? The Mortician focuses on Kimberly as if the others had ceased to exist. MORTICIAN The list accounts for every life ; from the dawn of man to the great apocalypse. But the introduction of life that was not meant to be, a soul forbidden to roam the earth, that could invalidate Death's list, shatter its very existence. Evan's other eye POPS, startling Thomas and Kimberly. THOMAS What the hell does that mean? MORTICIAN -LRB- with finality. -RRB- To figure that out you'll have to follow the sign s. The Mortician grabs Kimberly. MORTICIAN But be warned. To disrupt the grand design is to unravel the tapestry of the universe. When you pull all the threads apart, you may find yourself hanging from them. The Mortician finally lets Kimberly go. CLEAR One last question. Why is Death working backwards this time? The Mortician glances at his watch - Evan's bran d new Rolex. MORTICIAN -LRB- shakes head ; a sick smile. -RRB- Sorry, time's up.", "EXT. GAS STATION - DAY CLOSE UP - GAS DRIPPING From the nozzle in Thomas' car. Thomas fills the tank, watching for signs of danger. Clear's hand is poised over the gas pumps' EMERGENCY CUT - OFF VALVE Some SKATE RATS exit the mini - mart with a pack of Camels, followed by Kimberly, who carries a couple of Red Bulls and hands them out. THOMAS New life defeats death? Follow the signs? Where the hell did you find that guy? KIMBERLY Yeah, I thought he was supposed to be helpful. CLEAR He was. If we can use your ability to see the signs, we can cheat Death long enough to figure out what `` new life'' means. -LRB- off their looks. -RRB- I know, it worries me that I understand him. Thomas tops off the tank. Some gas spills to the ground. Quick looks all around - sure enough, one of the Skate Rats is about to strike a match. CLEAR'S HAND SLAPS the kid in the back of the head, stopping him mid - motion. CLEAR What the fuck are you thinking? The startled Skate Rat shrinks back from Clear's rage. SKATE RAT I'm thinkin', suck my junk, bee yatch. Thomas chuckles to himself and looks at Kimberly who -", "EXT. LAKE - DAY POV DRIVER. Grease - covered female hands reach out toward a steering wheel of a white van speeding out of control TOWARD A LAKE! The van crashes through a railing and PLUNGES into the water. In moments, the van fills with water, the driver inside trapped. Drowning. Horrible.", "INT. GAS STATION - DAY KIMBERLY Comes to Thomas' arms - GASPING uncontrollably for breath. Terror - stricken. She begins hyperventilating. THOMAS What is it? What did you see? It's so bad, Kimberly ca n't speak. She coughs and gags as if recently drowned. Clear scans the perimeter for immediate dangers. A POWER REPAIRMAN On a cherry picker messes with the transformer, a LAWN BOY pull - starts a WEED WHACKER close to broken glass, a MECHANIC on a tall ladder changes out the gas price numbers, a female DOG WALKER with three dogs approaches the ladder. CLEAR You have to tell us now. KIMBERLY I. I. Clear shakes her head by the shoulders and barks commands like an angry drill sergeant. CLEAR You're strong. Do you hear me? You're a fucking warrior. Nothing scares you. In fact you happen to be the single most powerful woman on earth. Now what did you see? The words slowly take affect. Kimberly becomes centered, getting her breath back, and speaks without a hitch. KIMBERLY I was driving a white van. It must've gone out of control because it crashed into a lake and I drowned. It was. horrible. CLEAR You were there? KIMBERLY I can practically taste the water in my throat. And something else. The smell of flowers. CLEAR -LRB- confused. -RRB- Then it was n't just a sign. It was a premonition? Thomas gently releases her, paces. THOMAS Remember the onramp? There was a pregnant woman in a white delivery van. CLEAR Holy shit. He said `` only new life can defeat death.'' -LRB- off looks. -RRB- If she gives birth to a baby that was never meant to be born, a brand new soul that was never part of Death's Design. KIMBERLY It throws the entire Death list out of whack. And a new list has to be rewritten f rom scratch. We all start over with a clean slate. THOMAS It sounds all well and good, but what if we're wrong? CLEAR Please, what else could it mean? KIMBERLY -LRB- to Thomas. -RRB- So if you give us the pregnant lady's number, we can warn her about the lake and she'll live long enough to have the baby. CLEAR So let's do it. THOMAS -LRB- realization. -RRB- Shit, I do n't have her number. She was never interviewed. She took off right after the accident. KIMBERLY How are we going to find her? There must be thousands of white vans in this state. THOMAS Hey, I'm a police officer, remember?", "INT. A/V ROOM - POLICE STATION - LATER Thomas works a VCR, scanning BACKWARDS through the video footage from the patrol car camera. We see the SUV's explosive collision with the jack - knifed semi. Kimberly is taken by surprise by the sight of the crash. KIMBERLY Oh God. Thomas sees Kimberly and quickly flicks off the monitor. THOMAS I, uh. sorry. Kimberly notices Clear watching her and toughens up. She forces back the tears and qui ckly wipes the rest away. KIMBERLY I know, I know. We need my eyes. Clear sits beside Kimberly. CLEAR It's all right. I'll take watch. Kimberly looks grateful, and a moment passes between them, but she's already buried the need to cry. KIMBERLY I'm okay. Just caught me by surprise. Put it back on. Clear does, watching the cars seemingly pass in reverse. CLEAR Make sure all these people will be at the meeting tonight. THOMAS Taken care of. THE MONITOR Back, back, back until the Patrol Car slowly creeps backwards down the onramp. KIMBERLY There it is. THOMAS Got it. Thomas hits play and we see footage from the patrol car cruising past the White Van. A clean shot of the license plate. Jackpot. As Thomas slides his chair to a data base and types in the plate number, the pause function dislodges, slowly advancing the tape frame by frame. CLEAR I do n't get it. Why is everything happening so fast? After Flight 180. A month went by before anyone died. And now five people are dead in less than a day. Thomas' computer screen finally fills with information. THOMAS Here we go. The vehicle's a delivery van registered to Jorge and Isabella Cruz. And Christ, there's almost a dozen domestic disturbance complaints on these two. CLEAR We need to hurry. They all get up and leave. Ominously, THE MONITOR shows the NEXT VEHICLE creeping behind Nora's Pacer - a white van!", "INT. CRUZ HOUSE - NIGHT Thomas pulls up to an upper - middle class house. Thomas, Kimberly and Clear get out and start up the unlit path. It's dark, hard to see where they're going, so they negotiate by feeling the bushes aligning the walkway. THOMAS Let's lay this on her gently now. The stress alone could upset the pregnancy. Kimberly nods, ever creeping closer to the front door - when AUTOMATIC LIGHTS FLASH from over the garage. All three freeze for a moment, during which we hear STOMPING emanate from within the house, and the lights SHUT OFF. But nothing else happens. No one comes to a door. Thomas sighs, and as if suddenly remembering his status, he walks fearlessly and purposefully to the front door. He makes a fist, is about to knock - when the DOOR FLINGS OPEN and a ROTTWEILER LUNGES for his throat - only to have its collar snagged at the last second by its owner - JORGE CRUZ, late 30's, handsome, cocky. He speaks above Rotty's JORGE What? THOMAS I'm Officer Burke. I'm looking for an Isabella Cruz. Suddenly, with an unexpected fury, Jorge SCREAMS at his dog. JORGE Shut up! The Rottweiler cowers, and Jorge shoves it to the floor, where it lands on its feet and fearfully trots away. Jorge's face is once again pleasant, but it's a thin veneer. Jorge sees Clear and Kimberly behind Thomas and frowns. THOMAS Are you Jorge Cruz? JORGE Maybe. What's this about? THOMAS May we come in? JORGE No. What's this about? ANGLE ON CLEAR - eyeing what appears to be DROPS OF BLOOD on the tile floor. She takes in what she can see of - THE ROOM As if a tornado had hit it. Wedding photos smashed and torn. Furniture over - turned. THOMAS -LRB- a little stern. -RRB- It's about your wife, Isabella. Now is she here? Jorge's eyes flicker ever - so - involuntarily behind him. JORGE No. I'm alone. But by now, Thomas has seen everything Clear has and more. He stares through the house, into a bedroom and sees - A FEMALE FOOT lying half0buried under the bedspr ead. THOMAS Look, pal, it's probably nothing. But I need to see - Jorge is already closing the door. JORGE Forget it. You'll need a warrant. I know, I'm a lawyer. Clear rushes the door, shoulders it and expertly wriggles past Jorge's grasp. JORGE Stop! You ca n't go in there! Clear tears into the bedroom, grabs the bedspread and THROWS it to the floor to reveal a YOUNG WOMAN, naked, trembling with fear, takes a closer look at Clear. YOUNG WOMAN We never meant to hurt you Isa. You're not Isabella! Meanwhile, Jorge yells at Thomas. JORGE I'm going to sue your ass! KIMBERLY Whose blood is that on the floor? Defensively, Jorge holds up his arm. Freshly cut. JORGE Mine, you idiot. The dog went nuts this afternoon. Now arrest her! KIMBERLY Where's Isabella? Did you finally kill her you fucking wife beater? Jorge flinches. It's time to come clean. JORGE We had a fight. Some things got broken, the dog went crazy, she left me. Would n't say where she was going. THOMAS What was the fight about? JORGE Take a guess. THOMAS Does she have a cell phone? A way we can contact her? JORGE She did. He eyes a SHATTERED CELL PHONE on the floor. CLEAR We're wasting time with this piece of shit. Let's just get to the meeting. Jorge turns to soothe the frightened Young Woman in the bed. JORGE Hey, when you find her, tell her the kid's half mine. Clear mutters something as they exit the house. CLEAR We can only pray it does n't come out retarded. Jorge hisses something at the Rotty, which CHARGES them and SPRINGS! But Thomas slams the door on the frothing dog just in time.", "EXT. THOMAS' APARTMENT BUILDING - NIGHT Rory sits in his Chevette outside an apartment building, staring up at the address. He quickly snorts some powder off his key and wipes his nostrils free of crystals. He takes a breath and exits the car.", "INT. THOMAS' APARTMENT BUILDING - NIGHT Rory follows some PEOPLE into the elevator. The elevator doors close on his shoe - trapping Rory in an awkward position. One MAN frantically pushes the DOORS OPEN button to no avail. Finally, as the elevator rises, Rory YANKS his foot free. MAN Jesus Christ. I wrote to management two weeks ago about these friggin' bumpers. Rory bends down and inspects his shoe. RORY Damn, is that dogshit? Rory briefly holds the shoe too close to the Man's face - see? - before disgustedly slipping it back on. DING. The doors open. The man hurries out and the elevator DOORS CLOSE on Rory's smirking face.", "INT. THOMAS' APARTMENT - LATER REVEAL - Nora, Rory, and Kat, mortified, sit on a couch. It's obvious the bomb's been dropped, reality has set in. Clear and Kimberly await their reactions. Nora raises a trembling hand. NORA Does anybody have a Valium? Kat opens her purse and hands her a blue pill. KAT You'll want to take - Nora pops it in her mouth. KAT - half of that. Nora chews, her eyes half dead from bereavement. Across the loft, Thomas paces, phone in hand. THOMAS -LRB- quietly, into phone. -RRB- Any word yet on the Dodge van? Damn. Eugene alone seems unafraid. He uses a GRABBER - a long pole with movable claw on the end - to OPEN THE SKYLIGHT. When done, he balances the long pole precariously against the wall. An OMINOUS BREEZE enters. Clear notices MAGAZINE PAGES blowing over the desk by the couch. NORA So that would mean. I'm next. EUGENE Nobody's next. This is crazy. First death's stalking us and now premonitions? KAT This ca n't be happening. My career's at a peak, I finally met a cute guy, I just bought a new house. RORY Just shut the fuck up and maybe you'll live. Kat's hands ball into fists. The hatred is mutual. Clear reaches for a nearby cardboard box on the desk, noticing MAGAZINE PAGES blowing over until their weight tips over a PENCIL HOLDER which spills pens out. She takes the box to Nora. CLEAR You're not next, Nora. Nobody has to be next. That's the point. Last time, we did n't plan. We were n't organized. Now we can help each other. She reaches into the box and passes out cell phones to Nora and the others. CLEAR Think what would have happened if Kimberly had been able to warn you with the word pigeons. Nora's head falls. Kimberly senses her anguish and takes over. KIMBERLY The point is, as long as you know what to beware of, you have a fighting chance. It can be beaten. If I call you and say subway, get to a high rise fast. A place where no subway could possibly go, get it? Everyone nods in understanding. Rory fidgets, sniffling, then POUNDS the table in frustration. Startling Kat. RORY Why the hell did I ever get on Route 18 in the first place? That's me, Mr. Dumb Fucking Luck. Clear, very alert, looks at the tipped PENCIL HOLDER. PENS ROLL toward the end of the desk, toward a large White Pages directory which hangs precariously off the edge just so. CLEAR Anyone read today's paper? The article on Evan Shaeffer? No one says a word. CLEAR The only reason he was on Route 18 was because he own the lottery and had to collect the winnings. RORY That lucky bastard. CLEAR What about the rest of you? Kimberly, you were driving to Daytona. Was Route 18 your first choice? KIMBERLY The new freeway was faster, but Route 18 was the way my mom used to take, so. They take turns going around the room. THOMAS Route 18 is Drake's assignment, but he called in sick so I got. -LRB- blanches. -RRB- Drake's never sick. KAT I was my first day of jury duty. EUGENE Jury duty? That's randomly selected by social security numbers. CLEAR Random, sure. EUGENE What, you think Death planned for each of us to die in the pile up weeks ago? You're nuts. Clear fumes. Rory looks ill and reaches into his wallet. RORY Last July I dialed a wrong number and got a radio station by accident. They asked me what number means `` good luck'' in Jewish. KAT Eighteen. And it's `` Hebrew''. RORY Anyway, I guessed it right and won these. Rory holds up two Yankee tickets. RORY The best way to get to Yankee Stadium is Route 18. KIMBERLY I do n't know what's weirder, the dialing a wrong number part or that Death would set you up nine months in advance. THOMAS -LRB- realization. -RRB- Whoa, nine months? KIMBERLY Are you thinking what I'm thinking?", "INT. CHEAP MOTEL - NIGHT ANGLE ON ISABELLA'S PREGNANT BELLY. REVEAL she's lying down, binging on take - out food, while speaking on the motel phone. A disturbing metallic SQUEAK SCRAPE - SQUEAK can be heard, nearly drowning out the SCREAMING COUPLE next door. ISABELLA Yes, I'd like to report a domestic squabble - my name? Isabella Cruz why, does it matter? I'm at the Super 8 motel. Yes, I own a white van. So what? Just get over here. Isabella hangs up, recoiling at VIOLENT THUMPS against her wall. PULL BACK AND UP TO REVEAL the source of the unsettling SQUEAK is a rickety, wobbling CEILING FAN.", "INT. THOMAS' APARTMENT - NIGHT Kimberly whispers into the phone. KIMBERLY I'm sorry, Dad, we're having a hard time with Shaina's eulogy. I'll stay here at Virginia's tonight and see you tomorrow. I love you too. She hangs up, looking guilty for having lied to her father. Clear keeps her eyes on the pens that ROLL on the slightly canted table into the about - to - fall White Pages directory. CLEAR Remember everyone, just because Kimberly's got the power does n't mean we're not all capable of seeing signs to some extent. The pens softly tap the phone book one by one until it lazily tips over and PLOPS HEAVILY onto a GOOSE - DOWN THROW PILLOW. Small feathers from the pillow are carried upwards by the breeze. Everyone in the room watches them rise. RORY It's like Forrest Gump. They float across the room, ultimately landing on a MOUSETRAP! SNAP! The trap flies over and knocks into the base of the unstable Grabber - which tips and slowly slides down the wall. Clear, in a chair, looks directly above her head at a LARGE SWORDFISH mounted on the wall. The Grabber picks up speed, arcs downward and hits the mounted SWORDFISH. The supporting brackets give, causing the SWORDFISH TO TIP and SLIDE DOWNWARD! Clear lurches back in her chair just in time - the razor sharp bill impales the seat cushion between her legs! CLEAR Fuck. Should have seen that coming. The institution's made me soft. Clear gets up, carefully easing herself around the swordfish. Eugene is n't quite sure what to make of what he's just seen. EUGENE If Death has got such a hard - on for you, maybe you should get the hell away from us. KIMBERLY We need her. She's the only one who's dealt with this before, idiot! Kimberly looks self - conscious by her outburst. Clear, however, looks grateful. CLEAR We're all going to have to open our eyes from now on. Look out for each other. Sleep in shifts. -LRB- looks around apartment. -RRB- And we've got to safeproof this deathtrap. MONTAGE - SAFEPROOFING THE APARTMENT Everyone but Nora and Eugene helps unplug appliances, put out the fire, take down hanging objects, switch off the gas, put sharp objects away, affix padding to chart corners. Kat, placing poisonous cleansers and flammable liquids in a box, nervously pulls out a pack of smokes. Thomas watches as he takes a hanging mirror off the wall. KAT Screw this. I'm going outside for a smoke. THOMAS You think you should? It's not safe out there. KAT So? Nora's got ta bite it before me anyway, right? Kat steps towards the front door, then remembers the cell phone and grabs it just in case. Thomas smiles ` good job' at her. Kimberly, unscrewing the light bulb, looks up when Nora rises from the couch in a stupor and struggles to put on her jacket. Kimberly looks concerned. KIMBERLY Where are you going, Nora? You okay? Nora fights the sleeve, dazed and defeated. NORA Four years ago my husband died. Now Tim. There's nothing left for me. Kimberly stops pouring liquor down the drain. KIMBERLY Do n't say that. Once you lose hope, it's already too late. Eugene snickers. Nora looks up, anger surfacing. NORA If it's my time to go, to be in heaven with my family, then I can accept that. KIMBERLY You ca n't give up. Do n't accept Death's plan. Trust me, you can fight this. If we can just survive long enough until that baby is born, we can - Nora looks more resolute than ever. NORA If you'll excuse me, I have a funeral to prepare. Everyone looks crushed when Nora heads for the door. Except Eugene, who stands up as well. EUGENE Yeah, why am I listening to a girl who just got out of the nut house? As Eugene heads out, Kimberly becomes enraged and grabs him. KIMBERLY Seeing you die once was enough for me. EUGENE Whatever. I control my life, not fate. CLEAR I'll be sure to put that on your tombstone. Rory presses a cell phone into Eugene's hand on his way out. RORY Be careful. And even if you do n't believe, give this to Nora.", "INT. THOMAS' APARTMENT BUILDING - NIGHT Eugene pushes the elevator button a thousand times. Nora nervously ties her long hair back in a single braid.", "INT. THOMAS' APARTMENT - CONTINUOUS The nervous group finishes safe - proofing the apartment. RORY, standing on the couch, pulls a POLICE ACADEMY DIPLOMA off the wall - and slips - stumbling BACKWARDS into the closet. Staggering, he accidentally knocks some COAT HANGARS and a VOLLEYBALL TROPHY from the high shelf to the floor. Thomas whips around and sees that Rory's not hurt. He then lowers his gaze and sees - The figurine of a VOLLEYBALL TROPHY is framed by a tangled jumble of wire COAT HANGARS. Suddenly, STREETLIGHT FLICKERS ON for the evening. Oddly, it only illuminates the Trophy/Hangar array. From Rory's vantage point, it looks like a surreal sculpture of a man with hooks emanating from his body. The sodium vapor lamp casts an OMINOUS GLOW around the image. RORY man with hooks. I see a man with hooks. Someone?!?! The others look over, trying to see what he does. THOMAS -LRB- unsure. -RRB- I kinda see it, yeah. So. Nora's going to be killed by a man with hooks? Kimberly and Clear stare at the volleyball trophy - the street lamp ominously FLICKERS OUT AND DIES. Everyone looks around for a hesitant beat, then Thomas picks up his cell phone. Clear first walks, then RUNS out the door.", "INT. THOMAS' APARTMENT BUILDING - CONTINUOUS The elevator finally comes. Eugene and Nora get inside, standing in front of a gaunt looking man holding a cardboard box full of PROSTHETIC LIMBS. MUZAK plays AC/DC's HIGHWAY TO HELL. EUGENE Going down, right? The Gaunt Man says nothing. The DOORS CLOSE.", "INT. ELEVATOR - CONTINUOUS Eugene stares blankly at the CONCAVE MIRROR in the upper corner. He's disturbed by the WARPED REFLECTION OF : THE GAUNT MAN leans closer to Nora's hair and as the doors finally close, he leans over and SMELLS it. Creepy. EUGENE Um, by the way, your shoe's untied. Nora bends down to tie her shoelace -LRB- the one that snapped -RRB-. She tries tying the long dangling shoelace to the stubby one as Eugene's cell phone VIBRATES in his hand. Startled, he drops it to the floor. Then looks embarrassed. EUGENE Probably for you, anyway. Nora picks it up. STATIC CRACKLES. It's hard to make out Thomas' yelling. NORA Officer Burke? I ca n't hear. A beat of confusion, then she slowly turns to see the clawed hooks and hands of the Prosthetic limbs. Terror. She freezes. EUGENE What is it? What's wrong? But Nora's too frightened to speak. Eugene grabs the phone, hearing unintelligible STATIC. INTERCUT CLEAR As she frantically hits the elevator button. When it fails to come, she runs downstairs.", "INT. ELEVATOR - CONTINUOUS Nora slowly rises to her feet, feverishly mouthing a prayer. As the door opens, Nora rushes out - unseen to her, her long braid gets snagged on one of the PROSTHETIC HOOKS, YANKING her backwards. NORA Let me go let me go! EUGENE Oh, watch it, you've caught your uh. The Guant Man's sweet voice and demeanor are a clear contrast to his outward appearance. MAN Goodness gracious, darling, let me help you with. Nora panic, s as Eugene and the Man try to untangle her braid. Nora desperately spins her body around, sticking her head back inside the elevator. Kat appears in the lobby, smoking a cigarette. KAT You alright, Nora? The elevator DOORS begin to close, and CLAMP around Nora's neck, her head inside, body outside the elevator. Eugene pounds on the BUMPERS, but they do n't seem to work! NORA My God, someone please let me out of this - INTERCUT The UP BUTTON is lit. Clear rushes to the lobby. The Elevator RISES! INSIDE THE ELEVATOR, Eugene watches Nora's head drop to floor level - then he pounds the Emergency Button - which SHORTS OUT! Nora's body lifts upwards from the force of the elevator floor! Nora's screams of terror and agony fill the air as the elevator repeatedly LURCHES UPWARDS. Kat gasps in horror to see this poor woman suspended above the floor. It lurches. And lurches. And lurches. The horror never ends. Clear comes from the stairwell and is shocked by the sight. She runs to the elevator doors, trying to pry them apart to no avail. All Kat can do, crying, is grab hold of Nora's flailing legs and try to pull her back down. The elevator lurches a final time. NORA'S HEADLESS BODY fall down into Kat's arms, knocking her to the floor. Kat freaks, skittering away as the body convulses. INSIDE THE ELEVATOR Eugene balls his hands to his mouth in undeniable fear. A bloodcurdling moan escapes him. He stares transfixed as Nora's head, still aghast in terror, rolls around the floor. The sight clearly sends Eugene over the edge. He SCREAMS, CLAWS AND POUNDS, desperate to escape the elevator.", "INT. THOMAS' APARTMENT - MOMENTS LATER Eugene suddenly bursts through the door, babbling incoherently. Kimberly, Thomas and Rory look on, bewildered. EUGENE no escapes my ass. I control my fate. I die on my terms, hear me Reaper cockscuker?! Eugene's in another world. He approaches Thomas and lunges for his GUN - yanking it from the holster! THOMAS What the hell are you? EUGENE Ai n't going out like that. On my terms! THOMAS Just take it easy! A twisted insane smile comes to Eugene's face as he jams the gunbarrel to his temple. The others shrink back in terror. He PULLS THE TRIGGER. CLICK! Eugene tries again. CLICK! Thomas looks stunned as Eugene goes through every round, CLICK CLICK CLICK CLICK CLICK CLI CK. Kimberly breaths a sigh of relief. KIMBERLY You do n't keep it loaded? Thomas' eyes disagree. He reaches in and GRABS the gun away from Eugene, who stands there trembling. Thomas cracks open the cylinder. Loaded. RORY Maybe they were all duds. THOMAS Six in a row? Never. Impossible. That's like. -LRB- sinking realization. -RRB-. winning the lottery. CLEAR -LRB- O.S. -RRB- It was n't his turn to die. Everyone turns to see Clear and Kat, standing in the doorway, DRENCHED IN BLOOD. Kat trembles uncontrollably. KAT Can we find the pregnant woman, please?", "INT. THOMAS' APARTMENT - DAWN Flashing lights from rescue vehicles illuminate the living room. In the newly conformed safe house, Kat and Clear relax as best they can in Thomas' dry clothes. Thomas makes another phone call. In the corner, Eugene shivers to himself. Desperately looking for signs of danger. He looks over to Clear. EUGENE Um, Clear? I'm sorry. about before. I. CLEAR Your entire world view just went out the window. I could n't expect a religious conversation overnight. We'll get through this. -LRB- beat. -RRB- I promise. Eugene looks immensely relieved. Rory ambles over to Kimberly, his typical callousness gone. RORY Can I ask you a question? KIMBERLY Sure. RORY When I die. Is it gon na hurt? KIMBERLY I. I do n't know. Rory nods. He expected as much. He fishes his LICENSE and KEYS out of his pocket. RORY And you're gon na die after me, right? KIMBERLY I guess so. RORY -LRB- re : keys and license. -RRB- Would you take these? And if I die. -LRB- tears well up. -RRB- Could you throw all my drugs out? Paraphernalia, porno, you know. Anything that would break my mom's heart. Kimberly looks deeply into his eyes, looking for the punchline. When she does n't see one, she nods tenderly and takes the keys. The PHONE RINGS. Rory jumps at the sound, paranoid eyes in scan mode. Thomas answers, speaks softly, hangs up. THOMAS A one very pissed off Ms. Isabella Cruz is being detained up in Greenwood. Let's finish this thing.", "EXT. COUNTRY ROADS - DAY Kat's Ford Expedition winds its way through rural New York. A SPORTS CAR speeds past on the left, then as it pulls in front of the Exped ition, its slipstream sucks over some debris from the shoulder ; a thin metal piece of trim, which bounces in front of Kat's Expedition's left front tire. CU KAT'S WHEEL WELL - the metal trim is shot upward into the wheel well, where it lodges firmly, its sharp metal edge GRINDING AGAINST THE RUBBER. INSIDE THE CAR Kat drives, Thomas reading directions in the shotgun seat. Kimberly, Eugene and Rory ride in back. In the CARGO area, Clear scans out the rear window for danger. Rory fidgets. RORY Is this safe, guys? I mean, someone in this car is about to get whacked. Do the rest of us really feel like sitting next to him? -LRB- off Kat's glare. -RRB- Or her. Hopefully her. An uncomfortable beat. THOMAS Guys, let's not panic. Isabella's safe. KIMBERLY How do you know? THOMAS You said she was going to drive into a lake. How can she when she's in protective custody?", "INT. SHERIFF'S STATION - DAY Isabella, pissed, is in a holding tank. Small town deputy STEVE ADAMS, 30's, CLEANS HIS GUN in her direction. ISABELLA What do you mean `` grand theft auto?'' This is insane. STEVE Hopefully the district judge can straighten it all out by Monday mor ning. ISABELLA -LRB- figures it out. -RRB- Jorge. When I get out of here I'm going to sue his cheating ass off. As she fumes, a rivulet of WATER streaks down her leg. IS ABELLA Oh my God. Steve, at first confused, sees the water and gasps. STEVE Are you kidding me?! Oh, man. He rushes across the room, pulls a lever, unlocking the cell. STEVE C'mon. Let's go. As Steve throws on his jacket, we reveal its prominent emblem : GREENWOOD LAKE SHERIFF DEPARTMENT.", "EXT. SHERIFF'S STATION - MOMENTS LATER Small town station. Only one patrol car. In the patrol car, Isabella buckles up in the sho tgun seat, the belt stretched tightly across her belly. Deputy Steve tries the ignition, but the car wo n't start. STEVE Damn, they always stick me with the clunker. ISABELLA Take my van!", "EXT. WESTCHESTER COUNTY - DAY KAT'S EXPEDITION speeds through a yellow light and continues on. CLOSE ON EXPEDITION'S LEFT TIRE Metal sheers away more rubber. INSIDE THE EXPEDITION Rory, antsy, rubbing his nostrils, stares at two Yankee tickets. RORY Here's what I do n't get. For nine months, Death does all this shit to make sure I win these tickets and end up on Route 18 at exactly the right time for the pile up. KAT Yeah? RORY But why single me out? What am I in the great scheme of things? You'd think I stepped off Flight 180 or something. Fucking weird, man. THOMAS You want weird? Last year, my partner and I were heading out for the graveyard shift. A call comes in about a train wreck and Frank decides to let me handle it alone. -LRB- beat. -RRB- Frank died that night in a shootout. I'd be dead too if that call had come in just ten seconds later. Everyone nods in that ` life's weird' reverence kind of way. KAT I got that beat. So like, last May, I was supposed to stay at this cheesy bed and breakfast in Pennsylvania. There was a major gas leak no one knew about and all the guests suffocated during the night. RORY Yeah, so what happened? KAT I never mad it. The Greyhound bus I was on splattered some chick all over the road and we had to stop. CLEAR Was that in Mt. Abraham? KAT Yeah. How did you know? CLEAR -LRB- sinking realization. -RRB- That bus you were on? It killed Terry Mathers. She was supposed to die on Flight 180. KAT I'm not sure I - THOMAS Shit. The call about the train wreck that saved my life? That was the night I scraped up Billy Hitchcock. RORY Who? KIMBERLY Another kid from Flight 180. A chill passes over the group.", "INT. WINDING ROADS - DAY Deputy Steve speeds the White Van up the narrow winding road. Isabella breathes Lamaze - style through intense pain. ISABELLA Promise me. I wo n't have the baby. in this van. Speeding up the incline, Steve tries to speed around a Volkswagon Beetle, but cars scream by in the opposite direction. ISABELLA Get around it! Steve leans on the horn and stomps the gas, dangerously riding the shoulder around the Beetle. Way ahead of the Beetle, on the left side, is a LAKE.", "EXT. WINDING ROADS BRIAN GIBBONS, 15, cheerfully drives a TRACTOR hauling a WHOODCHIPPER across the high crest of the empty road toward a pile of thick branches. The Tractor unexpectedly stalls in the middle of the road. He tries the ignition, pumps the gas. Nothing. Only by standing on the tractor can Brian see the White Van speeding up the hill toward him. He jumps down and frantically tires starting the tractor. Once, twice, nothing.", "EXT. KAT'S EXPEDITION - CONTINUOUS CU FRONT TIRE - METAL shreds away more rubber.", "INT. KAT'S EXPEDITION - CONTINUOUS Rory excitedly makes a connection. RORY Remember the theater in Paris that collapsed last year, killed everyone inside? Everyone nods, anticipating. RORY I had tickets to go, but one day I'm in Paris, trippin' on acid, sippin' lattes an' such, and this dude gets whacked by a falling sign. CLEAR Carter. RORY Freaked me out so bad I hid in a shopping cart for four hours. ` Course, missed the show. CLEAR What about you, Kimberly? Did you anyone from Flight -? Clear stops when she sees all the color has drained from Kimberly's face. Even Eugene looks concerned. EUGENE Are you okay? The car becomes completely silent -LRB- except for the slight SCRAPING -RRB- as Kimberly prepares to tell her story. KIMBERLY A little over a year ago, my mother and I went to the mall. I was supposed to meet her outside, but I got caught up watching some news report about some kid who committed suicide. I kept thinking, `` How can you strangle yourself in a bathtub?'' That's retarded. Thomas mouths, `` Tod?'' to Clear. Clear nods. KIMBERLY It felt wrong. And yet. -LRB- continuing. -RRB- There were gunshots outside and I ran. -LRB- chokes up. -RRB- Some kids tried to jack her car. She fought them off - she was a fighter - and they killed her. Kimberly looks to Clear. KIMBERLY After the funeral I had this overwhelming feeling that it should have been me. I figured that's how everyone must feel. But I guess I was right. Thomas reaches between the seats and takes Kimberly's hand. As he looks into her eyes, Kat takes her own eyes off the road to light a cigarette. INTERCUT BRIAN The tractor is safely off the road next to a wood pile. Brian grabs a cord and starts up the whoodchipper.", "INT. KAT'S EXPEDITION - CONTINUOUS CLEAR It's all starting to come together. When Alex got us off Flight 180, it did n't just change our lives. It affected everyone and everything we've come into contact with ever since. EUGENE I'm not sure I understand. CLEAR Being alive after our time caused an outward ripple - a rift in Death's design. Eugene nods, slowly getting it. EUGENE So if you never got off the plane, none of us would be ali ve in the first place. CLEAR That's why Death is working backwards. It's tying up all the loose ends, sealing the rift once and for all - This chapter of the screenplay contains scene -LRB- s -RRB- that do not appear or occur elsewhere in the final movie. In order to maintain the integrity of the screenplay, it has not been edited. CU LEFT TIRE A thick retread sheers itself onto the pavement. BRIAN The wood chipper roar s loudly. Suddenly, some forgotten stray chunk SHOOTS from the spout - The airborne chunk of WOOD CRACKS the White Van's windshield. Steve veers out of control. Kat sees the White Van ahead swerving into HER LANE. She quickly jerks the wheel to the right. Kat's LEFT FRONT TIRE BLOWS! It sends rubber flying and the entire SUV pulls hard to the left, spinning her out of control into the oncoming lane of traffic - toward the White Van! Isabella SCREAMS! Steve jerks the wheel to the left! The White Van has a close near miss with the Expedition, and goes off the road toward a LAKE! STEVE Hang on! The SUV misses the tractor - but sails off the other side of the embankment, spinning and rolling towards - THE GIBBONS' FARM At the bottom of the hill of a large rural farm, a PROPANE TANK sits at the edge of the property! The SUV barrels down the hill - coming right for it! INSIDE THE SUV All Kat can do is cover her head with her arms. THE WHITE VAN Speeding toward the lake! Isabella SCREAMS, in pain, not fear. The White Van is ready for splashdown. Steve finesses the hand brake while tapping the accelerator. He's able to right the van away from the water without so much as a hard jerk. STEVE We're okay, we're okay. THE PROPANE TANK It's about to get creamed - but the bouncing Expedition just barely misses it! It continues, backwards, CRASHING through a temporary fence and right into - AN AGRICULTURAL CONSTRUCTION SITE! The Expedition plows past earth movers, crashing through irrigation ditches and pipes, shrapnel flying everywhere. Just as the Expedition comes to a stop, an IRRIGATION PIPE ROCKETS through the rear window - miraculously missing Clear and Rory - coming to a rest just behind Kat's head. INSIDE THE WHITE VAN Steve sees the wreckage on the other side of the highway and slows down. Isabella squeezes his hand white. ISABELLA Please. It's not going to wait. STEVE I've got to stop and help those people. ISABELLA Do you want to deliver this baby? Steve looks ill, then sees another car stopping by the crash. He floors it and speaks into the shoulder mic of his cop radio. THE EXPEDITION The dust settles in the silent car. The only sound is a QUIET, WET WHEEZE. Clear, dazed, looks around carefully, avoiding the METAL SPIKE that skewers the vehicle. Rory holds his trembling hand before his eyes as if amazed to see it. Kimberly shakes her hair, spilling glass onto the floor. Kat tries to open the door, but it wo n't budge. KAT Not my time. Amazing. THOMAS Is everybody alright? A BLOODY HAND SEIZES HIS SHOULDER! Thomas turns to see Eugene SPASMING in the back seat! He clutches his ribcage in agony and wheezes! Blood trickles from his mouth. KAT He ca n't breathe! He ca n't breathe! CLEAR Oh my god, Eugene!? Eugene's head tilts forward, unconscious.", "EXT. GIBBONS' FARM - DAY BRIAN GIBBONS jumps off the tractor and sprints down the hill toward the accident. At the edge of the property is a common farm FENCE made from wooden posts bridged by two thick wires. Brian skillfully climbs between the wires and runs past a DEAD OAK TREE ten feet inside the fence. In the BG, MR. GIBBONS darts inside a double - wide construction trailer. MR. GIBBONS -LRB- O.S. -RRB- Call 9 - 1 - 1! WE FOLLOW BRIAN To the crash site. Brian's jaw drops as he absorbs the chilling sight of a guy and a girl dragging a blood - soaked man from the back seat to perform CPR on him. Around Brian, voices mesh in a surreal haze. THOMAS Stop it, do n't move him! KIMBERLY He ca n't breathe damn it. I think his lung's collapsed! CLEAR Someone call for help! We STEADICAM around Brian to reveal a woman screaming from the driver's seat. The sound is surreal. KAT I ca n't move my fucking leg! Please get me out of here before it explodes! The color drains from Brian's face as the dying man on the ground coughs blood and the girl performing CPR recoils. The moment is still surreal as Brian steps back, further away from the horrors he ca n't face. Into the street - And Rory yanks him back from imminent death as an AMBULANCE SPEEDS onto the property. RORY Watch it, dude! That SNAPS Brian back to reality. Sounds become normal again. Brian collects himself and SNIFFS the air. He then drops to ground level, looking under the Expedition for something. KIMBERLY Help us, we need help over here! BRIAN -LRB- to Kat, reassuringly. -RRB- I do n't smell any gas. And none's dripping, either. Brian sticks his head in Kat's window and peers down at her trapped leg. He swipes the broken glass away from the window with this thick flannel sleeve, reaches in, and tries to YANK the door open with all his might. No good, Kat SCREAMS in pain. KAT Stop that! I still need this foot, thank you. Brian steps back as the emergency vehicle speeds over.", "EXT. GIBBON'S FARM - LATER Clear watches two EMTS lo ad Eugene into the back of an ambulance. An oxygen mask has been placed over his mouth. CLEAR Be careful with that, check the gages on the regulator and be mindful of overdoses. Oh, watch for potholes and puddles. As Clear continues, the exasperated Paramedics do their best to ignore her. When she tries to climb inside, she is pushed away. CLEAR Look, I made him a promise - PARAMEDIC Sorry. There's no room. Again, she's shoved away and steps back, helpless. Thomas and Kimberly stand by Kat, still trapped in the SUV. THOMAS Get that over here! Move move move! A RESCUE WORKER carries the JAWS of LIFE past Clear towards the Expedition. RESCUE WORKER Excuse me, hot soup coming through. The hydraulic hose that leads back to the Power Unite WRAPS AROUND CLEAR'S LEG. As the hose tightens, Clear realizes she's surrounded by shards of glass and metal. She quickly WRESTLES herself free of the hose and watches the Paramedics lock Eugene's gurney into place. CLEAR One more thing. Watch out for power lines. The doors slam, revealing the PHELPS MEMORIAL HOSPITAL logo. The ambulance speeds off, spraying gravel at her. She reaches into her pocket and withdraws a CRUSHED cell phone. Shit. She runs back over to Thomas. CLEAR We have to contact Isabella now! A NEWS VAN tries to weave through the emergency vehicles to get closer to teh accident. ANGLE ON NEWS VAN UNDERCARRIAGE It sinks into the loose dirt, SCRAPING A LARGE ROCK. The gas tank PUNCTURES. EMT'S angrily wave the news van back to the road, where it parks near the twin wire fence opposite the DEAD OAK TREE. Immediately, A CAMERA CREW exits the van to catch the action. Rory steps behind the News Van, making sure he ca n't be seen, and digs into his sock, coming up with a bindle. A SMILE. THOMAS -LRB- O.S. -RRB- Rory! Rory cringes at his name, pockets his stash, then EXITS FRAME. WE PUSH IN, the news van gas tank is leaking. A SMALL DRIP.", "EXT. GIBBON'S FARM - CONTINUOUS Thomas, Kimberly, Clear and Rory watch the JAWS OF LIFE being clamped onto Kat's door. THOMAS Where's the cell phone Clear gave you? RORY I dunno. I think I gave it to Eugene back at your place. THOMAS Damn it. We have to call the Greenwood Police Station and warn Isabella. Thomas runs in the direction of some local POLICE. After he leaves, Rory drifts away from the pack, hand in pocket. Kimberly moves back to Kat, who chain - smokes in the front seat of the Expedition. KIMBERLY You doing alright in there? KAT My legs are starting to cramp up. And God, why am I so thirsty? Does anyone have any Fiji? The KA - CHUNK of the Jaws of Life next to Kat startles her half to death. KAT Christ, you wan na give me a heads up next time, pal? Brian and Mr. Gibbons approach with a cup of tap water. They hand it to kat, who frowns but drinks anyway. THE DRIP Of the leaking gas becomes a steady trickle. GAS SLITHERS over packed dirt, around debris, toward the crash site. THOMAS DARK ROOM Speaks to another COP who clicks off his radio. COP She's at Phelps Memorial. They're prepping her to give birth right now. THOMAS Where's that? COP A few miles up the road. Near the docks. KAT Lights one cigarette off the other KA - CHUCNK! The sound makes her flinch, dropping the cigarette on the floor. KAT Damn, ca n't you be quieter with that thing? RESCUE WORKER -LRB- dripping scorn. -RRB- Sure, I'll just set it to the `` quiet'' mode. Kat rescues the glowing cigarette from around her feet and inhales. KA - CHUNK! She jumps again, but maintains her composure. MEANWHILE The gasoline purposefully trickles down corrugated steel, through pipes, closer and closer to the Expedition. At one point, the gas even disappears into a hole in the ground, only to resurface twenty feet closer to the site. KIMBERLY Looks confused to watch Rory climb between the fence wires and drift the Dead Oak Tree into the field. Thomas runs down the hill toward Kimberly. THOMAS We got ta go now. Isabella's in labor. Rescue Workers pull off a large chunk of door. KA - CHUNK! Kat Flinches. KIMBERLY What about that? CLEAR -LRB- calls over to Kat. -RRB- How you doing in there, hero? KAT -LRB- re : spike behind head. -RRB- I guess it could be worse. Brian hands out drinks to Rescue Workers. THOMAS So let's go. Where the hell is Rory?! Thomas sees Rory in the field and angrily hops the fence, heading directly under the dead Oak Tree. Rory, his back to everyone, finally opens the BINDLE. Enraptured, he delicately unfolds it. KIMBERLY Is put on alert by a fresh BREEZE. Her attention is caught by the WINDOW of an emergency vehicle. IN THE REFLECTION, Kimberly sees a man sitting on the Expedition, but when she spins ar ound, there's no one there. KA - CHUNG! The door comes off the Expedition, finally freeing Kat! Everyone applauds! KIMBERLY Wait! Mr. Gibbons, applauding with everyone else, chooses that very moment to sit on the bumper. DEPLOYING THE AIRBAG! SLAMMING Kat's head backwards through the spike, HEAD - KABOB. Kat's dead limp hand drops her last cigarette - which bounces along the hard dirt - toward the oncoming gas. Closer, closer,. The BREEZE KICKS UP, aiding the cigarette. WHOOSH, the gas fuse catches. The blusih flame travels through pipes, over rocks, racing toward the news VAN. Kimberly, half - traumatized, watches an ominous BREEZE rustle through the field, up to the trees, toward Thomas. The GAS BURNS up an incline, and disappears into the ground. And pops up twenty feet closer to the News Van. Kimberly follows the BREEZE to the dead oak tree under which Thomas stands. And blows a large branch until it snaps! A startled Thomas sees it fall just in time to DIVE to safety. Clear, seeing the flame, instinctively runs from the van. CLEAR Get back! BOOM! The news van's explosion hurls two fence posts just over Thomas' head, end over end, the two lengths of wire stretched between them. The flying garrote heads directly for - Rory, who sorts hard, stands up with a satisfied smile - and is sliced into three sharp cuts of beef. The silence from the emergency crew is deafening. Mr. Gibbons starts crying hysterically. MR. GIBBONS I did n't mean to do it - I did n't know. Kimberly numbly stares at the fallen branch, the one that caused Thomas to step out of the path of the flying fence. KIMBERLY -LRB- to herself. -RRB- It was n't his turn. And it's not my turn. Kimberly sees the corpses of Kat and Rory, buries the pain, and approaches Mr. Gibbons. KIMBERLY Give me the keys to your truck. Now! MR. GIBBONS -LRB- hysterical. -RRB- Anything you want. Anything. I wish I knew. I did n't. Mr. Gibbons hands Kimberly the keys.", "EXT. WESTCHESTER COUNTY - MOMENTS LATER Kimberly drives Thomas and Clear in the Gibbons' truck. All are numb. THOMAS -LRB- buckling up. -RRB- Hurry up. There's no time. She's about to give birth. Kimberly unbuckles her seatbelt and floors it. CLEAR What are you doing? You're going to kill us! KIMBERLY No. If anyone dies from a crash now, it'll be me. But I ca n't die if Eugene and Isabella are still alive. I'm last on Death's list. CLEAR Are you crazy? What makes you think you'd survive? KIMBERLY What happened when Eugene tried to kill himself out of turn? CLEAR -LRB- considering. -RRB- Six duds in a row. KIMBERLY And when it was Rory's turn to die, and Thomas was in the way? THOMAS That branch fell and saved my life. You're right, Death's maintaining the order. KIMBERLY Let's pray that Isabella's still alive. The truck speeds into the horizon.", "EXT. PHELP'S MEMORIAL HOSPITAL - ESTABLISHING SHOT", "INT. DELIVERY ROOM - DAY Typical chatter as the staff preps Isabella. Steve paces nervously in the background. STAFF contractions coming quicker now. Take her pressure and CTG. One centimeter dilation. Prep the epidural stat. Isabella breathes Lamaze style in the hospital bed, her feet in stirrups. A NURSE rocks Isabella's body back and forth, until her back arches almost unnaturally forward. In the BG, an OBSTETRICIAN, 50s, sterilizes his hands in a scrub sink. A female ANESTHESIOLOGIST hustles over, swabbing a LONG EPIDURAL NEEDLE. The nurse places a mask over Isabella's face. The Anesthesiologist lowers the needle to the base of Isabella's spine. ANESTHESIOLOGIST She's going to have to stop moving if I'm going to - The Nurse SNEEZES. ANESTHESIOLOGIST Goddamn it, keep her still! NURSE Sorry, doctor. XCU NEEDLE Tracing skin between Isabella's constantly moving vertebra. ANGLE ON BUMBLEBEE It buzzes about the room, darting between the he ads of the doctors and nurses, hovering above the - ANESTHESIOLOGIST, who traces the long needle down Isabella's spine, finding the proper vertebrae. ANESTHESIOLOGIST Perfectly still now. Everyone freezes. SILENCE. As the tip of the needle presses the skin down - The BEE lands on the Anesthesiologist's ear. And STINGS! FLINCH! The NEEDLE SINKS IN - a NURSE GASPS. Did something go wrong? ANESTHESIOLOGIST Done. -LRB- tears welling. -RRB- Now could someone please find the open window and fucking close it?", "EXT. SUBURBAN STREET - CONTINUOUS Kimberly speeds the truck down some dangerously twisty roads slick from wet leaves. KIMBERLY This makes no sense. Isabella was supposed to crash her van into a lake. Could we have altered her destiny when we had her arrested? CLEAR I do n't think so. Alex's premonitions happened exactly as he saw them no matter how much we tried to change it. THOMAS Then the only way to survive is to get to the hospital and protect Eugene and Isabella for as long as we can. CLEAR If only Alex and I had done that with the others, Alex might still be. A somber beat. Then Thomas looks over at the speedometer. THOMAS Um, Kimberly? This is a neighborhood. You may wan na slow it down. KIMBERLY Do n't worry. Nothing can happen to us. THOMAS I was n't worried about us. Suddenly, Kimberly clutches her throat!", "INT. HOSPITAL ROOM - DAY UNKNOWN POV A NURSE hovers over us in a hospital, WRESTLING us down by the look of things. There is SCREAMING all around. The image comes at us so fast, we see only the briefest glimpse of the NAMETAG on her uniform : KALARJIAN THOMAS -LRB- O.S. -RRB- Kimberly! Slow down!", "INT. TRUCK - CONTINUOUS Kimberly `` comes to'' at the wheel - FLAILING DESPERATELY at the steering wheel. She even claws at Thomas who tries to control the neglected steering wheel. CLEAR Slow down! We're. Kimberly looks up as the truck comes around a blind curve, where cars are backed up at a stop sign. Kimberly screams and SLAMS on the brakes. The truck SKIDS on wet leaves, completely out of control, towards a LANDSCAPING TRUCK parked on the shoulder. Kimberly's truck hits the loading ramps and launches itself twenty feet into the air, DUKES OF HAZZARD - style. And lands miraculously without a scratch! On a parallel road. And keeps going. Dumb, insane fucking luck. Kimberly shakes off her premonition and looks out the rear window. She turns around with a cocky smile. She rubs her throat and FLOORS IT again to Thomas' horror, more determined. CLEAR -LRB- eyes darting. -RRB- What did you see? What am I looking for? KIMBERLY No, it's not here. This one was different. More like the pile up and the van going into the lake. It was n't just a sign, I was there. CLEAR -LRB- confused. -RRB- Another premonition? KIMBERLY Yes. I was in a hospital. There was screaming. A nurse was choking me. I could n't tell wh at she looked like, but the name tag was right in my face. Kalarjian. THOMAS Kalarjian? KIMBERLY I think a nurse named Kalarjian is going to choke Isabella to death!", "INT. PRIVATE ROOM - DAY WIPING FRAME, a NURSE enters a room and reads a clipboard on an unseen patient's bed. REVEAL EUGENE lying in a hospital bed, wired to the latest medical hardware. Nearby, a RESPIRATOR plunges up and do wn, the RESPIRATOR TUBE snaking down Eugene's throat. The NURSE'S HAND reaches down to Eugene's neck. Eugene WINCES when the Nurse gives the tube a friendly little SHAKE to check if it's stable. NURSE Sorry. Can you feel that in your trachea? Eugene rolls his eyes. Stupid question. NURSE Quite complaining. I got burnt babies in the Children's Ward braver than you. She sticks an electri c thermometer in his ear. Eugene opens his mouth as if to speak. NURSE Do n't bother. You wo n't be talking for at least a month. Think you can handle that, Jabberjaw? Eugene looks ready to cry. The Nurse sits on the bed, jarring Eugene enough to make him WINCE again. NURSE Do n't worry. Everyone learns to love me once they get used to my sense of humor, okay? Eugene looks grat eful to see a humane side to this creature.", "EXT. WINDY ROADS - DAY The pick up truck races to the hospital. As Kimberly speeds past a billboard, a POLICE CAR pulls in hot pursuit. KIMBERLY Should n't we pull over? THOMAS No time. Keep going. I would n't know how to explain any of this anyway. At the next intersection, TWO MORE COP CARS APPEAR. KIMBERLY Oh come on. The pick up truck blows by the second pair of cop cars, which instantly join the high speed chase. Kimberly takes a long look in the rearview mirror at the TAILGATING COPS. She then inspects the road ahead. UP IN THE DISTANCE A busy six - lane intersection. KIMBERLY What do you want me to do? CLEAR -LRB- hesitated beat. -RRB- Speed up. KIMBERLY Yeah, fuck'em. -LRB- to Thomas. -RRB- No offense. Kimberly SPEEDS toward the intersection. She pulls her seatbelt aside, making sure it offers ZERO protection. Thomas jumps in the backseat, buckles up. CLEAR Be alive, Isabella, please be alive. Kimberly's eyes widen in fear. Her foot hesitates over the brake pedal as - The truck blindly blazes through the busy intersection, miraculously missing every car! The police are just barely able to fishtail into 90 degree turns, avoiding the intersection completely. Kimberly's eyes open and she lets out a victory cry.", "INT. PRIVATE ROOM - DAY ANGLE ON Oxygen valve. PAN OVER AND DOWN TO Eugene tries to watch a news flash of HIS accident on the TV across the room, but a bulky ORDERLY blocks his view. ANCHOR MAN -LRB- O.S. -RRB- ironically impaled through the head as a result of an emergency airbag deploying. As Eugene shudders with dread, the Orderly pushes a huge cart in front of him, again obscuring his view. Eugene frantically pantomimes writing. ORDERLY Need a pen? Sure. If you like, I'll bring crosswords for you, too. Eugene tries nodding his thanks, but the tube in his throat hampers his movement. ANCHOR WOMAN -LRB- O.S. -RRB- police Have speculated that one of the deaths may have been narcotics related and urge children to stay away from d rugs. Finally, the Orderly pushes the cart away, revealing the TV. An ANCHOR MAN taps his pages on the desktop. ANCHOR MAN Good advice, Sue. And stay in school. Up next, Johnny Showers has the weather. A WEATHERMAN dressed as a frog points out cloud formations. Eugene, tormented, stares at the screen as the Orderly begins pushing the huge cart out of the room. The sound of a SKIDDING CAR fills the room. It comes from the TV which shows a PSA featuring CRASH TEST DUMMIES. ORDERLY Jeez, it's freezing in here. The Orderly flicks the thermostat and one by one, VENTS CLOSE just below the ceiling. Eugene's eyes fill with terror - he knows something's wrong. ANGLE ON OXYGEN HOSE - Bursting. It HISSES softly. We follow the OBLIVIOUS ORDERLY out of the room.", "INT. HOSPITAL CORRIDOR - CONTINUOUS A hospital ADMINISTRATOR briskly strides up to the Orderly. ADMINISTRATOR What are you doing? The Henzels are still waiting for you in the Children's Ward - The Orderly smacks his forehead - shit. Totally forgot. ORDERLY Right, right, right. Gregory's big day. ADMINISTRATOR And Mrs. Dempsey in hydrotherapy ca n't feel her legs. The Orderly, nodding rapidly, is halfway down the hall by now. The Administrator shakes his head in disgust and walks past. The HUGE CART. Which now blocks the door on Eugene's room.", "EXT. PHELPS MEMORIAL HOSPITAL - CONTINUOUS Kimberly seems to have ditched the cops. She speeds the pick up through the medical facility.", "EXT. EMERGENCY ROOM - DAY The pick up skids to a halt in front of the hospital. Kimberly, Thomas and Clear run outside and into the building.", "INT. PRIVATE ROOM - DAY The OXYGEN HOSE hisses, but is drowned out by the volume of the TV. Eugene's eyes dart frantically as a blaring fast food commercial ends. The n, a NEWS REPORT comes on. The BANNER : ROUTE 18 TRAGEDY Footage showing grieving families, wreaths on doors, yellow ribbons, and emergency crews pulling wreckage apart, dissolve together over : ANCHOR WOMAN -LRB- O.S. -RRB- Mor e tears were shed this morning in the wake of yesterday's tragedy that rocked the Tri - State area. Suddenly, the FRAYED ELECTRIC CORD of Eugene's TV begins sparking. The sound DROPS OUT, the picture SPUTTERS. Eugene goes white with terror. He looks back to - The broken OXYGEN TUBE. HISSING softly. The BEEPS of the EEG machine frantically increase. Eugene reaches for the nurse call switch. Mockingly out of reach by mere millimeters.", "INT. NURSES STATION - DAY Clear, Kimberly and Thomas dash toward the main desk. CLEAR Isabella Cruz. What room's she in? RECEPTIONIST I'm sorry, I ca n't give out that info unless you're a relative. CLEAR I'm her sister. The Receptionist eyes her dubiously. RECEPTIONIST I'll have to see your ID, Ms. Cruz. Clear vaults over the counter, straight - arms the Receptionist and seizes the computer. Thomas and Kimberly look on, stunned. CLEAR Delivery rooms are downstairs. I'll find Eugene and catch up with you. Kimberly and Thomas hurry to the elevator banks. then reconsider and enter the stairwell.", "INT. PRIVATE ROOM - CONTINUOUS Eugene scratches the top sheet of the bed, trying to inch the call - switch closer and closer to him. But it wo n't budge. A RAT APPEARS behind Eugene's pillow, CRAWLS over his chest and disappears by his stomach! He pounds desperately on the empty food tray, his side rails, looks toward the door -", "INT. HOSPITAL CORRIDOR - CONTINUOUS Outside the door, you ca n't hear a thing in the bustling hallway as people rush by. Kimberly and Thomas rush past his door, lost. THOMAS Hurry, I think she's this way. BACK TO EUGENE His eyes scream insanely, but he respirator tube prevents any sound from escaping him. And that's when the RAT appears on the floor and begins gnawing on the respirator's power cord! When Eugene sees this, the EEG machine climbs off the charts.", "INT. NURSES STATION - CONTINUOUS Clear takes off down the hallway. The Receptionist, shaken, dials her phone. RECEPTIONIST Security?", "INT. DELIVERY ROOM - CONTINUOUS The Obstetrician voices concern. OBSTETRICIAN Listen to me, Isabella, I need you to stop pushing. ISABELLA What's wrong? IS the baby all right? OBSTETRICIAN It's a breach. If I ca n't reverse it, we may need to do a Caesarian. The Obstetrician's hands go to work. Steve looks ill. STEVE Maybe I should step outside. INTERCUT KIMBERLY AND THOMAS Running down the corridor. PA ANNOUNCEMENT Code Blue in Delivery Room 6. Code Blue!", "INT. PRIVATE ROOM - DAY The rat GNAWS away at Eugene's power cord, Eugene looks trapped, helpless, tortured. His eyes dart from the sparking TV to the gnawed power cord to the useless call - switch.", "INT. HOSPITAL CORRIDOR - CONTINUOUS Clear walks up and down the corridor, scanning room numbers as she passes. A - 169, A - 171, A - 173. CLEAR B - 187. B - 187. A HAND suddenly GRABS Clear and shoves her against the wall. REVEAL A SECURITY GUARD leering at her. SECURITY GUARD Just where do you think you're going? Clear struggles to get away, getting sympathetic looks from an OLD MAN walking a rolling IV STAND down the corridor.", "INT. DELIVERY ROOM - CONTINUOUS Isabella is pushing again. OBSTETRICIAN Almost there. I see the head. The NURSE takes a pair of SCISSORS off a tray.", "INT. HOSPITAL CORRIDOR - CONTINUOUS Clear plays possum, offering no resistance to the Security Guard as the Old Man wheels his IV STAND along. Suddenly, Clear grabs the stand - and WHAMS the heavy wheeled base into the Guard's BALLS! As the Guard recoils, she thoughtfully hands the IV back to the Old Man and runs.", "INT. DELIVERY ROOM 0 CON The Nurse is startled when Kimberly and Thomas BURST THROUGH the door. In the BG, a puzzled Steve peeks inside until Kimberly pulls the door closed. NURSE What are you doing in here? Get the hell out! Right now! Finally we hear the BABY CRY! The Nurse immediately moves in to swaddle the newborn. Dr. Kalarjian beams at the very groggy looking Isabella. OBSTETRICIAN Isabella, look down and see your son. To the confusion of everyone around them, Kimberly and Thomas BURST INTO CHEERS! They jump, dance and hug each other. It's a magical moment -", "EXT. EUGENE'S PRIVATE ROOM - CONTINUOUS The RAT stops gnawing. The TV stops sparking. A wave of intense relief washes over Eugene. He pantomimes reaching into his shirt pocket and lighting a victory cigar.", "INT. HOSPITAL CORRIDOR - CONTINUOUS Relaxed and invigorated, Kimberly and Thomas giddily exit the delivery room as Clear runs up to them. CLEAR A guard grabbed me before I could find Eugene. THOMAS Do n't sweat it. It's over. CLEAR She had the baby? KIMBERLY New life defeats death. We've done it. Death has to rewrite the list. We're safe. Steve watches, confused, as Clear whoops with delight and HUGS the others. Clear laughs with a relief that seems completely foreign to her. Kimberly laughs with her, then is suddenly rocked by a vision - UNKOWN POV Looking up a the EEG machine. Flatlined! THOMAS -LRB- O.S. -RRB- Kimberly! Are you okay?!", "INT. HOSPITAL CORRIDOR - BACK TO PRESENT Kimberly, on the ground, looks frazzled as she SNAPS out of her trance. Thomas helps her to her feet. THOMAS Are you okay? You just face planted! KIMBERLY I know how it feels to be dead. Her lips blue, Kimberly shivers uncontrollably. Clear sees TWO SECURITY GUARDS round a distant corner and quickly walks the others toward an EMERGENCY LOADING ZONE. CLEAR What did you see? KIMBERLY I was dead. And came back to life. An EEG machine. Where's Eugene? THOMAS But it's over. Isabella's baby was the key. You saw her die and everything, right? KIMBERLY I do n't. what if I made a mistake? THOMAS Impossible. She was on the onramp. Kimberly reluctantly closes her eyes and remembers. PREVIOUSLY UNSEEN Moment of the pile - up premonition. A WHITE VAN in fr ont of Kimberly suddenly slams on its brakes and pulls onto the shoulder. Kimberly screams, swerving around the van just in time to avoid an accident. Kimberly, overcome with self - doubt. KIMBERLY I'm not sure. I do n't think Isabella was ever destined to die in the pile - up. THOMAS Then what's the premonition of the lake supposed to mean? CLEAR Can you remember anything about it? Kimberly shuts her eyes, remembering :", "EXT. LAKE - DAY POV DRIVER Grease - covered hands reach out toward a steering wheel of a white van speeding out of control TOWARD A LAKE! The van crashes through a railing and PLUNGES into the water. In moments, the van fills with water, the driver inside trapped. Drowning. Horrible. And on the rearview mirror, six floral scented AIR - FRESHNERS. Kimberly looks down at her grease - covered hands and looks ill. KIMBERLY the Same hands from the van. Finally everything makes sense to Clear. CLEAR It's you Kimberly. The premonitions are about you. Kimberly trembles, refusing to accept what she's hearing. KIMBERLY No! It ca n't be. CLEAR -LRB- suddenly remembering. -RRB- I have to save Eugene! Clear leaves Kimberly and Thomas together. Kimberly verges on tears and Thomas consoles her with a hug. IN THE BACKGROUND Clear looks at passing room numbers while hurrying down the corridor. She comes to a room with a HUGE CART parked outside, blocking the door. She looks up to see - B - 187. Clear leans into it, pushing it out of the way of the door. CLEAR Eugene? Are you in there? EUGENE'S ROOM Eugene strains to hear through the thick door. CLEAR -LRB- O.S. -RRB- Can you hear me? I'm coming in. An intense wave of relief washes over Eugene. As Kimberly hugs Thomas, she watches Clear push the cart past the door. ORDERLY -LRB- O.S. -RRB- Make way, make way lovebirds. Kimberly spins as Eugene's Orderly passes her ; a paper, pen and a crossword book in one hand, A BIRTHDAY CAKE in the other. The CAKE reads `` Happy Birthday Gregory''. The THIRTEEN SPARKLING CANDLES on top ODDLY FRAME Clear's head. KIMBERLY Oh no. The Orderly speeds down the corridor toward Clear, whose hand reaches for Eugene's door handle. She leans into it - ORDERLY -LRB- to Clear. -RRB- Thanks hon, the Henzels are going crazy for this thing. THOMAS AND KIMBERLY Watch as Clear opens the door, briefly revealing Eugene, a whoosh of Oxygen - BOOM! Clear's body is obscenely hurled END OVER END towards the CAMERA, heading straight for Kimberly and Thomas! Thomas throws himself and Kimberly around the corner to prevent being crushed by Clear's lifeless body! The hospital erupts in total chaos. Just as Kimberly is about to break down completely, she sees - A WOMAN hurrying down the hallway in their direction, pushing a crash cart. Kimberly sees the nametag : KALARJIAN. KIMBERLY Nurse Kalarjian. DR. KALARJIAN Doctor Kalarjian. Excuse me, please. ANGLE ON CART DEFRIBULATOR PADDLES rest on top. And then Dr. Kalarjian passes them toward the area of the explosion. KIMBERLY OMINOUSLY TURNS, the camera following her view, until she sees a small lake across the street from the hospital. KIMBERLY Oh my God. That's it. The lake. The EEG machine. Nurse Kalarjian. THOMAS What? Just then, an AMBULANCE SKIDS up to the nearest entrance. PARAMEDICS jump out and run towards the blast site. KIMBERLY You ca n't cheat destiny. I know what I have to do to save us. I have to die. THOMAS That's crazy. You ca n't give up now. We can still fight this thing. But Kimberly is n't listening. She stares through the glass doors at the - AMBULANCE A red stripe down the side, but the hood is completely white. Six floral scented air - fresheners hang from the rearview. The ` van' from her vision! And it's running! KIMBERLY I have to do this. Kimberly wipes tears from her eyes, kisses Thomas' cheek, then turns and runs before he can speak.", "EXT. HOSPITAL ENTRANCE - CONTINUOUS Kimberly heads right for the open ambulance. The driver's door almost seems to swing open for her as she gets in.", "INT. HOSPITAL ENTRANCE - CONTINUOUS Thomas frantically tries to get through the electric doors, which SPARK and short out. He struggles to pry them apart.", "EXT. HOSPITAL ENTRANCE - CONTINUOUS Kimberly shifts into gear and speeds off. Thomas squeezes through the doors and runs after her. An EMT, the driver of the stolen ambulance, rushes outside. EMT What the fuck?!", "EXT. LAKE - DAY Thomas chases the ambulance, watching helplessly as it barrels over curbs, pylons and a fence, ultimately plunging straight into the lake! Thomas sprints to the lake as fast as he can - the EMT trailing far behind. INSIDE THE AMBULANCE Kimberly panics as the ambulance fills with water and she takes a final gasp of air - ON THE LAKE'S EDGE Thomas stares in horror at the percolating air bubbles as the vehicle descends below the surface - and he dives in! UNDERWATER Thomas swims into the dark, murky water. Deeper and deeper, he g ets to the ambulance and tries to open the door. Stuck. He withdraws his baton and BANGS on the glass - nothing! He tries coming up for air, but his pants snag on the jagged metal of the twisted bumper. He squirms frantically. And as his exhausted body loses consciousness, everything - FADE TO BLACK.", "INT. HOSPITAL ROOM - DAY BLACKNESS. DR. KALARJIAN -LRB- O.S. -RRB- Ready and. CLEAR! The SHOCK of defribulator paddles brings Kimberly back to life. KIMBERLY'S POV Looking up at Dr. Kalarjian, all she can see is part of a woman's face and a partial nametage reading `` Kalarjian''. It would appear as if she's choking Kimberly, but - An EEG MONITOR turns from a flatline to a steady heartbeat, the same POV as the premonition. NURSE She's back! DR. KALARJIAN Five CC's of narcodon. I want her stabilized and prepped for ICU. Kimberly turns her head to see THOMAS Unconscious, CPR being performed on him by the EMT -LRB- who's now soaking wet -RRB-. Thomas does n't respond. An INTERN opens an eyelid, points a flashlight at his eyes. Shakes his head, nothing. The sopping wet EMT goes back to performing CPR. Finally, Thomas coughs up water, chokes, gasps for air, then BOLTS UPRIGHT. THOMAS Kimberly?! He turns to see Kimberly reaching out for him. Immeasurably relieved, he takes her hand and allows himself to be eased back down to the platform. Kimberly's eyes fill with tears. KIMBERLY -LRB- whispering. -RRB- Welcome back. We did it. For real. THOMAS I know. I can feel it too. Outside, a parting of dark clouds causes a shaft of sunlight to flood into the hospital. Its light covers Kimberly and Thomas with an ethereal glow. There are no more doubts ; they've won. They exchange meek, yet triumphant smiles in the smoky, chaotic hospital.", "EXT. PARK - DAY We are at a summer barbecue. Frisbee, lawn darts, croquet, et. Everyone's happy. TITLE CARD : FIVE MONTHS LATER ANGLE ON Shish - Kabob entering a mouth. REVEAL Kimberly taking a bite, relishing the taste and calmly pulling the metal skewer from her mouth. KIMBERLY My God, this is delicious. I ca n't believe I used to be a vegan. Thomas, out of uniform, takes a bite of his own. As the metal skewer is deep in his mouth - A running FRISBEE PLAYER accidentally bumps into Thomas! But no harm. Thomas gives the guy a friendly pat and goes back to rewrapping his mouth around the shish - kabob. MR. BURROUGHS -LRB- O.S. -RRB- So what's the deal, Thomas? Three months and you still have n't asked my daughter out on a date. Kimberly turns red as Mr. Burroughs appears and takes a seat. THOMAS What's wrong with a platonic relationship? MR. GIBBONS Platonic my ass. That's for ugly women. KIMBERLY For God's sake, leave him alone, Dad. THOMAS -LRB- smiling. -RRB- Yeah, do n't make me cite you for harassment. MR. GIBBONS Oh please. I'm not hurting anyone. -LRB- looking around, lowering voice. -RRB- Besides, if you can beat Death, what's he got to worry about me for? Mr. Gibbons sits down at the table with two plates of food. His wife, MRS. GIBBONS, joins. MR. GIBBONS You know, you still never explained to us how you did it. It seems by now everyone's familiar with the concept. THOMAS Well, technically when we died, we gave Death what it wanted. And by the time we were revived, it had already moved on to graver pastures. Mrs. Gibbons makes a face, finding the discourse distasteful. She changes the conversation. MRS. GIBBONS You know, I'm having the greatest day? KIMBERLY Food's great too, Mrs. Gibbons. Big props to you and Brian. MRS. GIBBONS Our. pleasure. So, ready for the back - to - school season? NYU, right? KIMBERLY Three short glorious weeks away. MRS. GIBBONS Sounds wonderful. I wish I were going myself. MR. GIBBONS -LRB- to Mr. Burroughs. -RRB- You may want to think twice about letting her live in the village, Bob. Our eldest daughter moved there and came back with piercings all over her face. -LRB- looks grave. -RRB- Among other places. A chorus of friendly laughter. BRIAN -LRB- O.S. -RRB- Dad used to call her the pincushion. From Hellraiser. BRIAN enters frame, soaking up fresh laughter. He holds a plate full of raw chicken fillets and some long, wooden matches. BRIAN Dad, you had the spatula last, right? MR. GIBBONS Sure, here. Mr. Gibbons hands it over and Brian saunters away from camera, SLIGHTLY OUT OF FOCUS, toward the barbecue, his body framed between Kimberly and Thomas' heads. KIMBERLY Brian looks like he's having fun. MR. GIBBONS Sure does. Owes it to that friend of yours, in a way. Mr. Gibbons immediately regrets having said that. KIMBERLY How's that? MR. GIBBONS Well, Brian was nearly hit by an ambulance the day. but your friend Rory pulled him back at the last second. Kimberly and Thomas ominously turn their heads around. In the BG, Brian fidgets in front of the barbecue. MRS. GIBBONS You never told me that, Peter. Boy, that was lucky. BOOM! The PROPANE TANK blows Brian to smithereens. A deafening silence follows, punctuated when Brian's ARM lands on Mrs. Gibbons' plate. PLOP. FADE TO BLACK. END CREDITS." ]

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[ "CASTLE - NIGHT Now comes the moon riding over the horizon. Upon a hill at the edge of the wood squats a castle, its crude stonework bathed in cold silvery light. Queer carvings and runes decorate the ponderous gate. Heavy vines are climbing up the walls. The castle is old, its unfamiliar form testament to an ancient mind and an ancient craft. Flickering candle light dances on a leaded windowpane. Inside, the corridors are dark and silent. Under low arched ceilings the uneven floors are paved with stone blocks. Perched over lintels and crouched in niches are icons with strange animal heads. HODGE A sleep on a straw palette in a room strewn with vegetables and crockery is Hodge, a wrinkled old retainer. A flickering candle and empty jug are beside the bed. He is snoring gently. CONJURING ROOM This circular chamber at the heart of the castle is stuffed with parchments, scrolls, dusty books, bronze braziers, glass retorts, chemical salts, birds both stuffed and caged. An iron candelabra stands on a work table, tapers burning. In the soft glow it seems that the room is unoccupied, but no, moving in the background is a shadowy figure, preparing for a magical deed. Feet are positioned carefully within a pentagram chiseled into the floor. A scroll is consulted ; up comes an arm and a voice blurts out : VOICE Omnia in duos : Duo in Unum : Unus in Nihil : Haec nec Quattuor nec Omnia nec Duo nec Unus nec Nihil Sunt. Nothing happens. VOICE Come on, candles, out! But the little flames stand at attention without so much as a tremble. VOICE In Volunta Divina et Verbum Magi : Lux! Exstinguat! It's no use. There is a sigh and the figure moves forward into the light. Revealed in the glow is the discouraged face of Galen Bradwardyn, sorcerer's apprentice. TOWER Carrying the candelabra, the youth trudges up a circular staircase. TURRET The highest point of the castle is a turret, open to the stars and the night air. Here, more magic is afoot. An old enchanter, Ulrich, Magister Ipsissimus, pours water from a silver ewer into a stone bowl. As the surface ripples disappear he leans forward and gazes into the pool. All at once his face hardens as the distant sounds of screams and thunder reach his ears. Lights and shadows, reflected from within the basin, play across his face. His frown deepens as the sound of his own voice comes to him from the vision in the water - Draco draconis - suddenly squelched by the roar of flame and an ugly snarl. At that moment Galen reaches the top of the steps and holds up the candelabra. GALEN Vide, Magister. There's something wrong. Ulrich, startled from his trance, slaps the water out of the basin and turns to confront his student. Galen is taken aback by the old man's grim countenance. GALEN What's the matter? What's happened? ULRICH I've just seen something. Something of consequence to you. GALEN To me? ULRICH -LRB- calm. -RRB- Yes. My own death. With a distracted gesture he causes the flames to extinguish themselves. ULRICH Perhaps we had better hasten your training.", "BARNYARD - DAY Outside the castle wall Hodge is feeding the chickens and ducks. He straightens up and squints through the early morning mists. On a distant hillock two figures are moving toward the woods. ULRICH AND GALEN Hobbling slowly with the aid of a pair of canes, Ulrich guides his pupil across a wooden bridge and along a stream into the forest. ULRICH -LRB- stern and troubled. -RRB- This wood, these leaves, the birds, the very dome of heaven, once they all rang with one great chord : and philosophers like me kept it all in tune. Now, new voices are singing new songs. -LRB- sharply. -RRB- Have you mastered the threefold transmutation? GALEN Of course. ULRICH -LRB- skeptical. -RRB- You have? GALEN Well, almost. ULRICH It's very difficult. Have you committed to memory undying the Codex de Profundis? GALEN -LRB- a shrug. -RRB- The first two chapters. ULRICH It's long. And what about the Ritual of Banishment as prescribed by my late master Balisarius? GALEN To tell the truth, I have n't dared try it. What's the point, anyway? ULRICH The point? The point is you do n't know it, and you're no magician without it. It was my hope to school you, to mold your faculties and wits. I still believe you have some talent. Somewhere. GALEN I hate books. I hate drill. I want a real task. ULRICH There's no time now. When I'm gone, half the powers in the universe will vanish with me. And what's the use of a few lingering skills if they're left in the hands of a child? -LRB- pause. -RRB- Listen! GALEN I do n't hear anything. Ulrich gauges the young man standing before him and makes a decision. Reaching under his cloak he lifts off a fine silver chain with an amulet dangling from it. He drapes it around Galen's neck. ULRICH Here, wear this. Galen instinctively wraps his hand around the jewel. He cocks an ear. GALEN Voices, singing on the road. He hastens forward to a promontory, eager to have a look. Ulrich does not follow. Instead, doffing his cloak, he whirls it before him, where it magically floats a few feet off the ground. Awkwardly, the old man clambers aboard. GALEN I do n't see anything. He turns back, but the wizard is gone. A shadow falls over him. He looks up. There, two hundred feet above the tree tops his master is soaring on the wind. AIRBORNE The old conjurer squints into the distance. Miles away and far below a company of drab walkers winds along the margins of the forest. They are singing a mournful round. GALEN He gawks skyward. Suddenly, the old man leans down and addresses him. ULRICH -LRB- a shout. -RRB- We have visitors!", "ROTUNDA - NIGHT Clustering together in the center of a wide reception hall is a contingent of weary peasants, awkward amidst the dusty rugs, drapes and heavy furniture. Their leader is a fineboned youth, not yet twenty. Like the others, he is uneasy ; his name is Valerian. Hodge enters and sets a tray of mead before them. He leaves without a word. The visitors stare glumly at the refreshment, but are too timorous to go near it. CONJURING ROOM Galen helps Ulrich prepare for the audience. The sorcerer peers at himself in a full - length mirror, adjusting the hem of a black robe. ULRICH Looks forbidding enough, do n't you think? GALEN Here are your sticks. ULRICH No - they'll think me infirm. You know, Balisarius wore this whenever he changed lead into gold. He could really do that, you know. I never could. Too bad - you'd stand to inherit some real wealth. GALEN You're in a morbid frame of mind. What's all this about dying? You do n't even look sick. ULRICH -LRB- tying on a sash. -RRB- You still wearing that amulet? -LRB- Galen nods. -RRB- Good. Do n't lose it. It still belongs to me. He backs away from the mirror and fits a silver coronet onto his head. ULRICH Now, adeptus minor, get yourself a handful of that sulphurous ash over there. The sorcerer starts down a circular stone staircase. THE ROTUNDA The visitors watch warily as a door swings open and Galen makes his entrance, his face expressionless and hands pressed together. He looks rather young to be the famous Ulrich. Galen allows a moment to go by, then throws his arms wide. Ka - whump! and Ulrich appears in the doorway in a smoky fireball. Alarmed, the visitors retreat. ULRICH Nunc habeus lux! Pffst! around the room candles flare in their niches. ULRICH Et calor! In the fireplace, the birch logs are suddenly ablaze. Ulrich totters to the hearth and extends long bony fingers toward the warmth. ULRICH Welcome to Cragganmore. I am Ulrich. Which one of you calls himself Valerian? The travelers are suitably dazzled by the magician's performance. The young leader of the party screws up his courage and speaks. VALERIAN That would be me. We are here on behalf. ULRICH I know why you're here. You're a delegation from Urland, from beyond Dalvatia. Let's see the artifacts. The travelers exchange nervous glances. Valerian motions to one of his companions. The man steps forward and hands over a leather pouch. One by one, Valerian places the contents on the table for Ulrich's inspection. VALERIAN A bone. Scorched. A rock, fire - blackened. -LRB- pause. -RRB- Scales. At this, Ulrich advances and closely examines three shimmering irridescent disks as big as saucers. ULRICH All right. How did you come by these? VALERIAN -LRB- proudly. -RRB- I found them. At the mouth of the lair. ULRICH -LRB- grim. -RRB- What else? Valerian reaches under his jerkin and withdraws what appears to be a curved sword. He jabs it into the table. VALERIAN A claw. ULRICH That's no claw. It's a tooth. By the gods! He runs a finger along a serrated edge and gazes bleakly at his visitors. ULRICH And you want me to do battle with that? Valerian has lost all trace of timidity. VALERIAN Who else can we turn to? We all know what we're dealing with here. This is a basilicok. -LRB- he takes a step forward. -RRB- A cockatrice. -LRB- another step, bolder. -RRB- A dragon. -LRB- he leans close to Ulrich. -RRB- This is no stag, no bear, no natural creature. This is one of your kind. And only a necromancer such as yourself can rid us of it. ULRICH Did you try the Meredydd sisters? What about Rinbod? I've heard it said he killed a dragon once. VALERIAN They're all dead. You're the only one left. With a sigh, Ulrich lowers himself into a chair. He rubs his withered legs and shakes his head. ULRICH It's a long way to Urland. VALERIAN Every quarter, upon the solstices and the equinoxes there's a new victim. Greil, a grizzled peasant, speaks up. GREIL My daughter, for one. OTHER TRAVELERS My sister. cousins. ULRICH All women? VALERIAN Girls. Virgins, to be exact, chosen by lot. Galen edges over to the table and inspects the scales and tooth. GALEN Master, do n't you think - ULRICH Silence! He broods for a long time. VALERIAN Are you afraid of dragons? ULRICH No. Sorcerers and dragons go back a long long time together. If it were n't for sorcerers, there would n't be any dragons. -LRB- pause. -RRB- All right. I'll go.", "COURTYARD - DAY The travelers are making ready for departure in the grey light of dawn. As Hodge stuffs provisions into a wicker box, Ulrich wraps padding on a newly fashioned pair of crutches. ULRICH I know of this dragon. Vermithrax Pejorative : she's four hundred years old. As far as I can tell she's the last of her kind. Very appropriate that I'm the one to finish her off, do n't you think? -LRB- he tries out the crutches. -RRB- There. Flatten the highest mountain. What say you, Galen? -LRB- no answer. -RRB- Speak up. -LRB- still no answer. -RRB- You, Hodge. Hodge mutters something inaudible and grimly keeps packing. ULRICH -LRB- to Galen. -RRB- While I'm gone see you keep your nose in your books and your hands out of my reagents. Leave my instruments alone too. Galen crouches against the castle wall ; he regards his master sullenly. GALEN Look at yourself. How far will you get like that? A league, two leagues? ULRICH I'm not worried about the road. GALEN -LRB- sarcastic. -RRB- Why do n't you wave your hands around and summon up a coach - and - four? ULRICH Do n't mock me. Galen gets up and calls out to the Urlanders. GALEN You pilgrims : You're used to lotteries. Why not draw straws to see who'll be first to carry ironshanks here. This is too much for Hodge. HODGE Hold your tongue. If the master's got a mind to go, he'll go. Galen approaches the old sorcerer. GALEN Send me. You're always saying I need seasoning. I need a test. Let me go. ULRICH You're not ready. GALEN I'm ready for anything. ULRICH -LRB- wan smile. -RRB- Do n't be so hasty. Your time will come. The walkers are ready to set forth. Hodge picks up his pack, steps forward and pulls open the great gate. HORSEMEN Three mounted men are outside the gate, helmets on their heads, swords on the belts and longbows across their shoulders. They look formidable. The Urlanders take a step backward. VALERIAN Tyrian!? Tyrian is a lean, heavily bearded nobleman. There is a coat of arms on the shield strapped to the pommel of his saddle. TYRIAN -LRB- amiable. -RRB- Good morning, all. VALERIAN We're not afraid of you. Give us the road. TYRIAN Why, the road is yours. All the way to Urland. It's a long journey, is n't it? But when you're in search of a sorcerer, I suppose no distance is too great. Sensing trouble, Galen moves forward. Ulrich touches his arm. ULRICH -LRB- under his breath. -RRB- Say nothing. Galen hears the urgency in the old man's voice and obeys. Hodge takes it upon himself to deal with the strangers. HODGE What do you want with us? TYRIAN Well, like my good friends here, I've come for a bit of black magic. No doubt you've heard of our troubles at home. This is Cragganmore, is it not? HODGE Aye, this be the place of Ulrich. Tyrian dismounts and saunters up to the old magician. TYRIAN And here we have the mystical presence himself, no? HODGE You'd best keep your distance - and your manners. TYRIAN If he's ready to lay a dragon in its grave, he's got nothing to fear from me. -LRB- turns to the Urlanders. -RRB- I've no more love for that creature than you lot. Nor has the King. But, before you stir things up, do n't you think it a good idea to see you've got the right man for the job? HODGE Aha - it's a test you're looking for. We do n't do tests. TYRIAN I'm sure you do n't. They never do tests - and not many real deeds either. Oh, conversation with your grandmother's shade in a darkened room, the odd love potion or two. but comes a doubter, well then, it's the wrong day, the planets are not aligned, the entrails are n't favorable, we do n't do tests. VALERIAN We've got no doubts. We require no test. HODGE And you're not going to get one. When Ulrich finally speaks, his voice is low and authoritative. ULRICH -LRB- to Galen. -RRB- Go to the conjuring room. The iron box. Fetch me the dagger within. Galen's eyes widen with alarm. ULRICH The dagger. Be quick. Galen dashes into the castle. Ulrich gazes almost shyly at Tyrian. ULRICH You shall have your test. CONJURING ROOM Galen comes puffing up the steps, locates the iron box, and flings it open. Amidst the tawdry paraphernalia of a professional magician is an ivory - handled dagger covered with runic inscriptions. Galen eagerly examines it to see how the blade might twist aside or collapse into the handle, but it is all too genuine. A murder weapon. ULRICH'S VOICE -LRB- impatient. -RRB- Where are you, boy? I'm waiting. Galen throws open a window and looks down into the courtyard. He displays the dagger. GALEN Not this one, was it? ULRICH The very one. Let it fall. Galen hesitates, then tosses it. Tumbling end over end, it arcs downward. The old conjurer calmly stretches out a hand and plucks it neatly out of the air. Galen watches as Ulrich passes the weapon to Tyrian and strips back his robe exposing a bony chest. Galen knows what's coming. He rushes for the door. He's only a step away when it bangs shut of its own accord. He sprints for a second exit. Whack! This door slams shut too. Locked in. Quick, back to the window and climb down the vine. Smack! the heavy shutters seal him in. ULRICH AND TYRIAN Ulrich takes Tyrian's arm and guides the point of the dagger to his breastbone. ULRICH Vita regula, vita hieratica! Everyone is filled with dread. Hodge is shaking. From the castle come the rattling of shutters and Galen's muffled cries. A sick sarcastic smile has crept over Tyrian's lips. He tenses himself to thrust. ULRICH Go on. Do n't worry, you ca n't hurt me. CONJURING ROOM Galen stops hammering and presses his face to a crack in the shutter. Below he can see the participants in this grisly drama. He holds his breath. Tyrian makes a sudden movement and buries the blade in Ulrich's chest. But the sorcerer stands unbent, seemingly unhurt. Then, after a long moment, he slowly sags forward over the dagger and the hand that holds it. Tyrian shrinks back and allows the body to fall in a heap. Very quickly he remounts. In another moment he and his companions are gone. The others are riveted in horror. Hodge sinks to his knees and wails his grief. Galen turns away from the window and gazes blankly into the gloomy conjuring room. Click! The doors unlatch themselves and swing open.", "FUNERAL PYRE - DAY Ulrich, principal magician and sorcerer of the western world, reposes on a hardwood pyre. His hands are folded on his chest. His face is peaceful. While the visitors wordlessly look on, Galen touches a burning brand to the kindling. At first the fire catches normally enough, but when the flames start to envelop the body they suddenly turn pale green, producing an unearthly roar. The onlookers back away from the intense heat. GALEN The erstwhile apprentice stands his ground, blinking back tears, his face weirdly illuminated by the fire.", "CONJURING ROOM - DAY Galen sits alone amidst the museum - like collection of magical apparatus. He stares at the amulet, considering its significance. His reverie is interrupted by the murmur of voices below. At the window he looks down to see Hodge bidding farewell to the delegation from Urland. Valerian is the last to leave. He pauses at the gate and glances up at Galen. Then he moves on. The young student of magic sets his jaw, suddenly filled with resolve. Moving through the room, he busies himself with the old man's effects. He scoops up the loose books and parchments and locks them into trunks. He drapes muslin cloths over the alchemical devices. He sows a handful of salt over the pentagram inscribed in the floor. Finally, he opens the cages and releases the crow, the falcon, and the great horned owl. COURTYARD Hodge is up on the burned out funeral pyre, anxiously scraping ashes and small bones into a leather pouch - the remains of Ulrich. Up behind him comes Galen, now clad in a traveler's cloak, with a pack on his back and a staff in his hand. GALEN Hodge - what are you doing? Hodge quickly conceals the pouch. HODGE Just making my farewell, thank you very much. He quickly climbs down, picks up his pack and follows Galen out through the gate. As the door is pushed shut a huge oaken timber falls into place, barring the castle against the uninvited.", "HILLTOP - DAY Galen and Hodge labor to the crest of a grassy hill and turn to look back across a wide valley. There on another hilltop on the far side sits Cragganmore, lit by the red rays of the setting sun. Galen removes the amulet from his neck and clutches it in his fist. Hodge is bug - eyed to see it. HODGE Be careful with that! You do n't know what you're doing. GALEN Stand back! He raises his hands toward the castle and calls out : GALEN Cragganmore! Domus non i am! Silva celet! CRAGGANMORE The vines on the castle walls begin to twitch and stretch, magically brought to animate life. They flow upward over the masonry, branching out and covering every surface, then up onto the roof. Finally only the tops of the chimneys and the highest turrets stand above the green carpet. A century's growth in a matter of seconds. GALEN & HODGE On their hilltop the old retainer gives the youth a fearful look. Galen is too flushed with excitement over what he has done to notice.", "FOREST PATH - DAY Galen and Hodge trudge along an overgrown cart - track under an arch of trees. HODGE Oh, it's a vale of tears in which we dwell. It does n't matter who you are, a king in his robes, a peasant in his rags, when your time comes, no magic can save you. GALEN I guess. The apprentice's mind is elsewhere : he's got a coin hovering in mid - air above his palm, bobbing gently as he walks. HODGE the kindest lord a man could ask for. now he's gone. Ye gods he was fussy about his bath. And you'd think he could boil his own eggs with the snap of a finger, but no, he had old Hodge do it, of course. -LRB- snurfling. -RRB- Up before five I was, mucking out the cages, slopping the pigs, and never once got so much as a thankyou or a pat on the back. -LRB- through tears. -RRB- I'm going to miss him. GALEN Me too. He plucks a low - hanging leaf, waves a hand over it, and watches it turn into a spray of daffodils. HODGE No you do n't. All you care about is the tricks and knavery. Well, you do n't pull any wool over these old eyes. It'll be a mighty long walk before you fill his shoes, you mark my word. GALEN What's the matter, Hodge, pack too heavy? Here. He gives the pack a slap. It flies out of its harness and floats alongside them. Hodge snatches it back and clutches it tightly. HODGE Careful with that! GALEN Too cold, is it? A great coat drapes itself over Hodge's shoulders. HODGE Stop it! GALEN Too warm? The greatcoat disappears, as do the rest of his garments, leaving him in his smalls. HODGE -LRB- spluttering. -RRB- Stop it, I say! Out of respect for the master! Suppressing a grin, Galen mercifully waves his hand and restores Hodge to his usual costume. GALEN I've got as much respect for the master as anyone, old man. But - then again, I'm master now. TRAVELERS' CAMP - NIGHT The Urlanders are gathered around a fire, sharing a meager supper. The man named Greil pokes at the stew - pot. GREIL I left my farm with seeds unplanted, calves unborn, nothing but a wife to chase down the strays, and for what? A funeral, that's what. He walks up and down behind Valerian. GREIL Because some people said, find a magician. Not just a local fellow, an import, a good forty leagues from home. An all - powerful necromancer. Ha - some necromancer! Malkin, an older man, speaks up. MALKIN Hold your tongue, Greil. Sit. Eat. GREIL I'll not sit. I'll not eat. See you the Great Bear. His tail points east. It's the equinox. Have you forgotten? Or rather not think about it? VALERIAN -LRB- miserable. -RRB- He's right. I brought us here for nothing. May the gods help whoever's daughter it is tonight. There is a noise from the darkness beyond the campfire. Two of the men get to their feet and listen. At first silence, then more rustling. Without a word the two men dart into the bushes and haul two interlopers before the company : Galen and Hodge. HODGE Good morrow, good morrow. Peace be with you. GALEN Easy now. We mean no harm. We've been looking for you. GREIL -LRB- growl. -RRB- Well, you've found us. GALEN -LRB- brushing himself off. -RRB- More the other way around, I'd say. VALERIAN What do you want? GALEN A few words, that's all. You were looking for a conjurer. VALERIAN He's dead. GALEN Right. Requiscat in pace. -LRB- he takes a deep breath. -RRB- Ecce : magister novus! GREIL How say you? Galen surveys the puzzled faces. He draws himself up and plunges in : GALEN My lord Ulrich is no longer. All that you asked of him, you may now expect of me. The dangers he would face, I will now conquer. The task he would undertake I will now fulfill. I am Galen Bradwardyn, inheritor of Ulrich's craft and knowledge, and I am the Sorcerer you seek. There is a moment of depressed silence. Hodge rolls his eyes. Greil starts to chuckle, then to laugh. Soon the others are laughing too. GREIL Well, that's a handsome thought, O wizard of wizards. But if there's one thing our friend Tyrian has shown us, it's to beware the pig in the poke. Who's got a dagger? HODGE No tests! GREIL Call it proof, then. Someone brings out a dagger and hands it to Greil. Valerian pushes it away. VALERIAN We've seen enough tests. But Greil persists, waving the knife at the group. GREIL Well I have n't. All I've seen is death. Death in our families, death on the road, and tonight, death at home. He lashes out with the knife. Galen jumps back, but Valerian steps in, delivering a quick kick to Greil's gut, followed by a right to the jaw that sends the bigger man sprawling. He takes the knife. VALERIAN What's come over you, anyway? Have you lost your wits? He propels Galen out of harm's way and sits him down on the other side of the fire. Greil nurses his jaw. GREIL I do n't like it. Young snot - nose comes in here for sport at our expense. We're on a fool's errand, but we do n't have to listen to this. I do n't want to hear any more about sorcery. I do n't want to hear any more about spells. Valerian hands Galen a plate of food. VALERIAN You must be hungry. GALEN -LRB- nods. -RRB- What's the matter with him? VALERIAN It's not just him. It's all of us. It's the equinox. They both look up at the moon.", "DRAGON COUNTRY - NIGHT The moon shines down on the far reaches of the Kingdom of Urland, coldly lighting a barren landscape filled with the skeletons of dead trees, blackened rock and bare ground. Advancing across this mournful terrain is a troop of armed men leading a blindfolded horse and tumbril. The horse is skittish. Finally, in spite of shouts and lashings, it refuses to go further. The leader, Horsrik, barks out an order : HORSRIK Close enough! Bring her out! A young woman, no more than seventeen, is brought forth from the cart. Long black hair falls down over a white tunic. Her dark eyes dart fearfully around in her pale face. She is half - carried, half dragged to the edge of a steaming crack in the ground where she is manacled to a wooden post. By lantern - light, Horsrik reads from a parchment scroll. HORSRIK Now be it known throughout the kingdom, that this maiden, having lawfully been chosen by a deed of fortune and destiny, shall hereby give up her life for the greater good of Urland. There is a low rumble ; the earth shakes. Horsrik glances nervously around. He carries on by rote. HORSRIK By this act shall be satisfied the powers that dwell underground and the spirits that attend thereto. In gratitude for this sacrifice His Majesty has declared the family - what's the name? - He prods the girl, but she is too terrified to speak. Beneath them, the earth seems to groan. Smoke issues from the mouth of the pit. One of the nervous witnesses leans forward. RETAINER Plowman! The family Plowman! HORSRIK -LRB- rushing it. -RRB- - the family Plowman to be free of obligations, taxations, levys and imposts for a period not to exceed five years. The horse suddenly rears, and blindfold notwithstanding, gallops off, dragging the tumbril over the rocks. The men behind Horsrik break ranks and scatter. HORSRIK - ordained and signed this day, etc., Casiodorus, in his glory the reigning king of this our realm. his seal, his mark, duly read by Chancellor Horsrik in his holy name. Now Horsrik joins the flight, chasing his men back over the murky horizon. THE GIRL She strains against her manacles, cocking her head to listen as the rumblings below subside. Presently the steam and smoke blow away and she can see the horse pawing and stamping a hundred yards distant, the wheel of the cart jammed between rocks. Summoning up a wild will to live, she squeezes her hands against the cold iron rings. No use. She spits on her wrists and twists desperately. Blood starts. One hand slips free. She looks at the horse. The animal tosses off its blindfold and looks back at her. Now she strains again and pulls her other hand free. She wipes the blood on her frock and sprints toward the horse. But she does n't get there. The earth abruptly shifts from under her feet, tumbling her among cracked and steaming rocks. When she raises her head a huge shadow has fallen over the horse. There is a piteous whinny, then a roar. The girl's face is suddenly lit by flames. She scrambles to her feet and rushes back the other way. THE CHASE The girl has n't taken a dozen steps when something huge hurtles forward and blocks her way. Something scaly and glittering. She whirls and stumbles off in a new direction. This time she's cut off by a monstrous claw tipped with rapier - like talons. She screams and crawls away. Another claw prevents her escape. THE CREATURE Membranous wings fold down against the night sky. Up comes the silhouette of a reptilian head swaying on a serpentine neck. There's an angry hiss. A sheet of flame envelops everything.", "FOREST - DAY Tyrian kneels beside a mountain waterfall, having a drink while his men hover in the background. One of them points down the slope. MAN There. I see them. Tyrian wipes his mouth unhurriedly and strolls over to look. Far below, half hidden by trees, the little company of Urlanders winds its way through the forest. A frown creeps over Tyrian's face. TYRIAN Who's that old man? MAN Where? Which one? TYRIAN That one. That's the man from Cragganmore. Now what's he doing here? MAN Filling in for the chief, I reckon. TYRIAN -LRB- weary. -RRB- What a pity. HODGE Hodge marches along with the rest. When he's sure no one else is looking he burrows into his garments and brings out the leather pouch containing Ulrich's ashes. Reassured that it's still with him, he tucks it away again. Galen falls into step. GALEN What have you got there? HODGE None of your business. GALEN A little gold, eh? What do you say I change it into lead? HODGE Save your jokes for someone else. Me, I do n't care for braggarts. They pass Valerian, who has dropped out of line. HODGE And I do n't care for frauds. GALEN I'm no fraud. HODGE Call it fool then. Upstart. Whatever pleases you. GALEN Hodge, nobody forced you to come along. HODGE Oh, I'm here of my own free will, all right. We each do the master's bidding in our own way. GALEN Well, if he told you I needed wetnursing, why do n't you just turn yourself around and go back home. Hodge snorts and fusses with his pack. HODGE Home, is it? You've seen to that, have n't you? Gone to seed, I'd say. He glances over and discovers Galen missing. GALEN He walks back along the trail, looking for Valerian. Pretty soon the rest of the travelers are out of sight. He hears the sound of a splash. He turns off the trail and pushes through some shrubbery. FOREST POOL Under the oaks and hickory, a forest stream has widened into a quiet pool. A pile of clothes lies on a rock at the edge. Out in the middle, Valerian is treading water. GALEN You're too far behind us. Come on out. VALERIAN You go ahead, I'll catch up. GALEN Not a good idea to get separated. Let's go. VALERIAN Right. I'll be along. Galen leans over and splashes some water on his face. Feels good. He shucks his pack and starts to throw off his clothes. Valerian does n't like it. VALERIAN That's all right. Do n't come in. But Galen is now naked and walking into the water. He swims out toward Valerian. VALERIAN -LRB- edgy. -RRB- You better get back to the group, they're probably worried. Galen keeps swimming. VALERIAN I prefer to swim alone, if you do n't mind. But Galen has slipped beneath the surface ; he does n't hear. UNDERWATER Galen works his way through the murky green underwater world. Suddenly, he stops short and stares. He's only a few feet from Valerian's dangling legs. He gasps in surprise. Valerian is no boy. ON THE SURFACE Galen comes shooting to the surface, coughing and sputtering. GALEN By the gods! Valerian is pale and frightened. VALERIAN Stay away. She propels herself backward, then turns and swims for shore. ON THE SHORE Galen and Valerian have taken refuge behind separate bushes. Briskly they pull on their clothes. VALERIAN I suppose you'll tell everyone. Go ahead, I do n't care. It's a relief. GALEN I'm not going to say anything. VALERIAN I do n't blame you. I was stupid. Careless. A silly woman! GALEN -LRB- feeble bluff. -RRB- Take it easy. I knew the moment I saw you. I've known the whole time. VALERIAN You never knew a thing. No one knew. Not since I was born. Go on, run off and tell them. It'll make a great story. GALEN Do n't worry. No one's going to find out. Just tell me : why? VALERIAN Ask my father. They finish dressing in silence. Finally : GALEN The lottery! Daughters are chosen, but sons are not! VALERIAN That's right. Unless you have plenty of gold or property. GALEN What do you mean? VALERIAN If you're rich enough, your name never goes in. -LRB- bitter. -RRB- My father is poor. So are a lot of fathers. He studies her. She jams a hat down over her head and, once more the young man, stalks off. THE VISION Galen walks down to the edge of the pool to retrieve his pack. As he leans over he catches sight of what appears to be a reflection in the water : Tyrian on horseback. He whips around, but no one is behind him. Riveted by the vision, he hurries along the bank to follow it. After a few paces the blurry figure dismounts, unslings a longbow, nocks an arrow and draws the string taut. GALEN -LRB- horrified. -RRB- No! FOREST Galen sprints through the trees. Up ahead is Valerian, walking resolutely. GALEN No! She glances back at him and grimly keeps on walking. Galen shoots past her and on into the forest. GALEN Hodge! TRAVELERS Galen races up the trail rounds a bend and sees the Urlanders coming toward him. Hodge precedes the group with an unsteady gait. He sees Galen, raises up his arms and flops face down on the trail. A long arrow protrudes from his back. Galen kneels beside him. The uneasy company keeps its distance. Hodge struggles to speak. HODGE Galen? Can you hear me? GALEN I hear you. HODGE You know, somebody shot me, but I can still talk. There's something that has to be done. GALEN I know. HODGE Not that cockatrice. Ulrich's ashes. Here. Hodge's hand comes out from under his coat gripping the leather pouch. Galen tugs at it, but Hodge ca n't let go. HODGE Take it. Sorry, you'll have to peel it loose. Galen pries the sack out of Hodge's clenched fingers. Suddenly the hand comes up, grabs Galen by the hair, and pulls him near. HODGE -LRB- a croak. -RRB-. burning water. find the lake, throw it in. GALEN -LRB- holding up the pouch. -RRB- What are you doing with this, Hodge? HODGE burning water. He dies. Galen frees himself from his grasp. GALEN Hodge, do n't die. Listen to me. You're not going to die. Galen is frantic. He pulls out the amulet and wraps his hand around it. GALEN Excede, mortem! Revoca, vitam! -LRB- he shakes the body. -RRB- Excede, mortem! Revoca, vitam! But Hodge has passed on, and Galen's magic has no way to reach him. Suddenly the youth cries out in pain. He drops the amulet and looks at his palm. The device has burned his flesh. Now he becomes aware of troubled Urlanders looking over his shoulder, witness to his failure.", "LAKE - DAY Wind whips the leaden wave tops on a vast rainy lake. The travelers are rowing across in an open longboat, aided by a tattered lateen sail. Valerian mans the steering oar at the stern while Galen broods in the bow. He feels like an imposter in their eyes. FJORD The boat pulls into a long narrow waterway with granite cliffs on either side. Moving through swirls of fog, they beach the boat and step out onto a craggy shore. Greil leans over and kisses a rock. GREIL Urland!", "DRAGON COUNTRY - DAY The travelers descend a mountain pass and emerge through a wrack of cloud into a gray and cheerless region. Fire - blackened trees dot the barren landscape. As they reach the flatlands, the Urlanders instinctively pick up the pace. Galen slows to inspect the weird surroundings. Valerian trots past him. VALERIAN Come on. Do n't dawdle here. Galen falls into step with her. GALEN The whole kingdom like this? VALERIAN No. We're near the lair. Keep moving. Galen looks around with new interest. GALEN Where? VALERIAN Over there. Does n't matter. We're in no danger if we just pass through quickly. Galen stops. High on the slope beside them is a gaping fissure. GALEN I see it. Let's have a look. VALERIAN No! But Galen is already toiling up the incline. VALERIAN Greil! Malkin! Help! The travelers turn to see what's the matter. THE LAIR Galen approaches the lair, pausing beside a wooden post with iron manacles dangling from it. He fingers them thoughtfully. Malkin, Greil and Valerian rush up behind him, their faces drawn with worry. GREIL Look, you do n't have to do this. We know you're a fine young magician. None better. There's no need to prove it to us. GALEN Are there other entrances? VALERIAN No. One's enough. GREIL Come on. The road's this way. We'll tell everybody how close you got. GALEN -LRB- coolly. -RRB- No smoke. How do you know it's in there? GREIL Do n't be a fool. Come away now and live to tell about it. Instead, Galen starts into the crack. Greil and Malkin hasten away, but Valerian lingers, watching in mounting frustration as Galen probes further and further into the lair. She picks up a fistful of stones and throws them at him. VALERIAN Go ahead! You're going to die! What a fine trick that will be! But Galen is lost in the gloom. She flees. UNDERGROUND Galen puts his hand on the rugged wall : the rocks are hot to the touch. Something glinting on the floor catches Galen's eye : an irridescent disk, a dragon scale. It flashes the colors of the rainbow as Galen examines it. All at once the ground shudders ; chunks of rock fall from the ceiling. A pall of smoke billows up from the depths. OUTSIDE Galen staggers out of the fissure coughing and gagging in a swirl of smoke. There is no sign of the Urlanders. He throws down his pack, climbs onto a huge boulder and surveys the massive cliffs rising behind the lair. He grasps the amulet and closes his eyes. GALEN Now, great mountain, hear my command : Terrae lapsus consignet latibulum draconis! Evanescat latibulum draconis! LANDSLIDE With a thunderous splitting sound, the entire top of the cliff pitches forward and topples onto the lower half of the mountain, sweeping tons of debris into the air. Boulders the size of houses bound down the mountain toward the magician. Eyes wide with awe, he turns and runs for his life. Even as he careens down the slope, chunks of rock rumble past. One catches him at the knee and sends him flying. He covers his head and joins the landslide. Finally the dust lifts and he finds himself in a gully face to face with the cowering Urlanders. They look with real fear at the man who just conjured up the Apocalypse. Tattered and torn, covered with dirt, Galen climbs up out of the shelter for a look at his handiwork. LANDSCAPE The territory has been drastically transformed : the dragon's lair is now buried beneath hundreds of tons of broken granite. The Urlanders look upon the new landscape with stupefaction. Galen grins a triumphant split - lip grin that fails to win them over. Presently they back away and run off down the trail, Valerian in their midst. Galen's grin fades.", "VILLAGE - DAY The Village of Swanscombe is little more than a rough and ready collection of thatched huts and mud - daubed outbuildings surrounded by cultivated fields. Dogs sleep in open door - ways ; chickens peck around the communal well - but there are no people in evidence as Valerian and her company troop into town. VALERIAN She trots across the square and enters a deserted blacksmith shop. VALERIAN Father? Hello? She goes over to the forge. Hot coals are burning. She becomes aware of a sound - voices - chanting. SQUARE She walks across the square toward the voices. She is joined by Greil, Malkin and the other travelers, all of them puzzled by the desolation. As they approach the grange hall the voices grow louder. They seem to be singing. The main doors open briefly and three villagers scamper out, dripping wet and wrapped in white muslin. Valerian and her companions look at each other in astonishment. IN THE GRANGE HALL In a wooden cistern in the middle of the hall a woman is being held under water. After a few moments she is pulled to the surface by a tall red - haired man with long bony fingers : Brother Jacopus Januensis, a Carthusian monk. There's a wooden cross on his chest and a mad look in his eye. Gathered around him are the missing villagers, every man woman and child, here to be baptised and sing a few newly - learned hymns in praise of Our Lord Jesus Christ. BROTHER JACOPUS Now are you cleansed of your sins! Now are you born again, purified in spirit, into the fellowship of Jesus Christ! The travelers enter and mingle with the congregation. Valerian scans the crowd until she locates her father, Simon, a balding sturdy journeyman. He's overjoyed at her return and gives her a hearty embrace. SIMON Welcome back, my son. VALERIAN Father, what are you doing? Have you all lost your minds? SIMON Some have. He points to the monk, who is dunking a screaming infant and carrying on about the Bishop of Rome. SIMON It's this monk. He can read and write, and talk too, I'm afraid. VALERIAN And they listen? SIMON Shh! They think this a holy place, a tabernacle. VALERIAN This is the granary. What kind of welcome is this? I've got news of the sorcerer and news of the dragon. SIMON You were brave to go, you and your friends. But nobody cares. Listen - he knows what they want to hear. MONK Brother Jacopus strides back and forth before the assembly in an inspired state. BROTHER JACOPUS The man who walks with Christ is not a man to fear a dragon : Yea, though I walk through the valley of the shadow of death I will fear no evil! You say you are preyed upon by a foul beast. Yes, but what is the nature of this beast? It comes to you on bat's wings and clawed feet, does it not? It breathes fire, does it not? And it lives under ground. This is no dragon. This is Lucifer! VOICE Whoever it is, he's dead. This is Galen, who has just stepped into the hall, tattered, bedraggled and triumphant. BROTHER JACOPUS Nay, brother! It is not as easy as that. Allegiance to Christ, to be sure, but also prayer and confession. These are the arms by which Satan may be put down. GALEN You're talking about superstition, friend. None of that has anything to do with what I, Galen, have already achieved. He marches to the center of the gathering. SIMON -LRB- to Valerian. -RRB- You brought this stranger? VALERIAN Ulrich's apprentice. He's a braggart, but it does n't matter. GALEN People of Urland! Send a messenger to the king. Vermithrax is dead. Crushed by the power of the moon and the stars! Laid low by ancient wisdom. Dropped into the Abyss by mystical practice. BROTHER JACOPUS Spoken like a pagan. Every word as reprobate as it is false! -LRB- holding up his cross. -RRB- Solum in hoc signo vinces! GALEN Nihil plus mysterium! He gestures boldly and a fireball crackles at the monk's feet. The holy man scurries back. A hush falls upon the congregation.", "DRAGON COUNTRY - DAY A procession of curious villagers winds its way into the badlands. They gather on a promontory overlooking the dragon's lair. They stand there for a long time, a chill wind whipping their garments, trying to understand what's happened. The monk is mightily displeased. BROTHER JACOPUS Praise God! Blessed is he that is humble before the Lord! VALERIAN Your god had nothing to do with it. Indeed, Galen's act is already the stuff of legend : MALKIN We saw it with our own eyes. He flew to the mountain top. He was a bird. He brought forth lightning. I saw it. Some of the younger villagers scamper forward to the spot where the cave had its opening. With yells and whoops they beat the ground with clubs. In the crowd Simon begins to smile, then to laugh. Soon he leads the villagers in a tumultuous cheer. Brother Jacopus and some of his converts drop to their knees and pray. CELEBRATION The inhabitants of Swanscombe have decked out the town square and are making a night of it. By torchlight they dance merrily to jigs and reels provided by the local fiddlers. Ale flows freely from oak casks. VALERIAN'S HOUSE Valerian is kneeling before a trunk full of women's clothing. She pulls out a long simple frock, goes to a crude mirror, and holds it up against her body to gauge the effect. Her father comes up behind her. He is angry and frightened. SIMON Put that away. What if you were seen? VALERIAN I'm going to be seen. I want to be seen. Tonight the world finds out that you never had a son. SIMON No, you must n't do that. It's too soon. We've got to think about this, we've got to make a plan. VALERIAN Father : the danger is over. He sits on the bed and puts his head in his hands. SIMON I know. What am I going to say to my friends who still mourn for their lost girls. VALERIAN You'll say you did what you had to. This is a time for celebration - and forgiveness. He looks up at her, trying to imagine what it's going to be like having a daughter. CELEBRATION Galen is surrounded by a crowd of wide - eyed kids and not a few adults, entertaining them by pulling duck's eggs out of their ears and causing coins to disappear. Presently he feels the attention of his audience shift away to someone standing behind him. He turns to find a shy but determined Valerian sweetly decked out in her blue frock. A buzz goes through the crowd. Valerian blushes and wavers : she seems ready to bolt for home. But Galen takes her by the hand, and with conspicuous politesse leads her to the dance. DANCE It's forward, back and around sixth - century style : the young sorcerer ca n't take his eyes off his partner. But she's too shy to return his gaze. GALEN Looks like you've been up to a little sorcery yourself. Valerian does n't know what to say. GALEN Or is it witchcraft? She still does n't reply. It's all she can do to keep on dancing. GALEN What's the matter? A real woman never stops talking. VALERIAN I think it was much easier being a boy. SIMON & GREIL They stand on the sidelines, watching the young couple step to the music. SIMON The damnedest thing is, she was twice the man of anyone else in the village. Now she's twice the woman. GREIL -LRB- grim. -RRB- Would that I had been as clever as her father. SIMON Come now, Greil. Do n't begrudge a life spared. GREIL I begrudge nothing. But I wonder at what we have seen and how it was done. SIMON You were there. GREIL I saw what I saw. But this jack - anapes was barely ready to carry his master's chamberpot. Is n't it strange that at the very moment the beast is put down we should have a holy man here in the village? SIMON You do n't believe that superstitious Christian rot, do you? GREIL -LRB- defensive. -RRB- It is said God works his wonders in mysterious ways. CELEBRATION While the proud Simon dances in the background with his daughter, a group of tipsy villagers clusters around Galen, belching forth a drinking song. The young magician raises his own mug and joins in on the chorus. Abruptly the music stops. The singing dies away. The ensuing silence is broken by the sound of galloping hooves. Presently three horsemen appear at the end of town : Tyrian and his henchmen. They guide their horses forward into the midst of the merry - makers. Tyrian dismounts and looks around in his usual friendly way. TYRIAN A celebration! Do n't stop on my account. You - musicians, more music! The musicians leave their instruments in their laps. Tyrian draws himself a measure of ale and raises it above his head. TYRIAN A toast! To the deed of the day! You see, good news travels fast. The King himself has already heard it. And like yourselves, tonight he's overcome with joy. MALKIN What would you have of us then? TYRIAN Not a thing. It's this one. -LRB- he gestures toward Galen. -RRB- The King would meet our new benefactor and offer his gratitude to the man who succeeded where so many have failed. GALEN -LRB- sobering up. -RRB- What sort of gratitude? A knife in the belly? An arrow in the back? Tyrian's smile freezes on his face. He steps in front of Galen, towering over him. TYRIAN My young friend, I'd as soon dispatch you as I did the others, and for the same reason. But his Majesty would like a cozy chat, and commands otherwise. VALERIAN Do n't go, Galen. Cast a spell and turn them into toads. It should be easy ; that's what they are. Tyrian regards her coolly, taking in her change of costume and its meaning. TYRIAN Well, well : still plenty of cheek under those skirts, it seems. Having buried the dragon under a mountain, Galen decides he's not worried about an appearance at court. He smiles at Valerian. GALEN Do n't worry. I'll be back. RIDERS Three horses gallop through the moors and fens of central Urland. Galen is tucked up behind Tyrian. On the distant horizon, the battlements of the King's castle glow in the slanting light of a new day.", "THRONE ROOM - DAY Within the castle is a great hall with shafts of daylight poking in through narrow windows set high in the walls. In the middle of the room stands a carved oak throne. There is Casiodorus Rex, King of Urland, a bearded man in his fifties, as spare and somber as the room in which he sits. He is flanked by a few servants, assorted courtiers and Tyrian. Standing before them all is Galen, looking unhappy. He pours a pitcher full of water into a small glazed goblet. GALEN One of the best things about the water here in Urland is that there's so much of it - look at that! Water continues to pour into the goblet without overflowing. Galen takes a sip. GALEN Mmm. Good. But not cold enough. Perhaps I could borrow a scarf from his Majesty. The King makes no sign. Galen approaches stiffly, takes a scarf and retreats. GALEN I cover the goblet, so. remove, so. and behold : winter in a mug! And he's done it : he turns the goblet over and a small chunk of ice hits the floor. The royal reaction is equally frosty. Galen is bombing, and he knows it. GALEN All right. How many of you have ever seen a table fly? He mutters an incantation. In the audience, Tyrian notes that Galen has his hand wrapped around the amulet. There is a loud clatter as the heavy oak table before the throne begins to jitter and buck. As the wine spills and plates go flying, the King wearily raises a hand. KING Enough! That's fine. GALEN Wait, it'll rise now. KING Do n't bother. Not necessary. The table cracks in half and dumps a mess of fruit and crockery at the onlookers' feet. KING Tell me : the landslide - it was accomplished this same way? GALEN Yes. KING I see. And having rendered such unique service to our kingdom, what would you claim as a reward? GALEN Please - no payment. I have always found magical practice to be its own reward. I seek only some yet greater challenge. This handsome sentiment does n't go over any better than his tricks. KING Did you ever hear of King Gaiseric? Of course not, you were n't even born. He was my brother, a great King and a valiant man - at - arms. When he ascended to the throne, the dragon was unbridled. No one knew where it might strike next. So he brought forth his broadsword and his spear, assembled a company of his best fighters and went out to do battle. -LRB- pause. -RRB- He was never seen again. But his attack provoked the most terrible reprisals : whole villages incinerated, entire crops burned. Death, famine, horrible. The King grimaces as the memories come flooding back. KING -LRB- quietly. -RRB- How did you arrogate to yourself the role of savior? GALEN I was invited. KING Not by me. Did you ever consider the consequences of failure? GALEN What failure? What's the matter with you people? You want the dragon back? KING Then the beast is dead? GALEN Yes, of course. Dead. KING We shall see. DUNGEON Two guards thrust Galen into a narrow cell and slam the barred door shut. The young sorcerer waits until they're safely out of sight, then takes out his amulet. He ponders it for a doubtful moment. Suddenly a gloved hand darts in and whips it off his neck and out through the bars. TYRIAN Thank you. He makes an ironic salute and leaves. Galen sits down heavily and stares at the stone walls. CORRIDOR Unseen by Galen, a figure clad in silk and lace skitters down a murky dungeon hallway and peers around a corner. Stealing a look at Galen is the Princess Elspeth, a fey beauty in her early twenties. After a moment, spooked by some imagined noise, she flits away.", "DRAGON COUNTRY - DAY Dark clouds slide across a pale sun, throwing the ruined land below into shadow. Soon fat droplets of rain are splattering on the rocks above the dragon's lair. With each tiny splash there is a sizzle and a puff of steam. These rocks are hot! DUNGEON Outside the barred window, a steady rain is falling. Inside, Galen uses a chunk of limestone to inscribe a pentagram on the floor of his cell. He marks runic signs on the window sill and lintel. Then, positioning himself in the center of the mystic symbol, he raises his hands and spreads his fingers. GALEN -LRB- authoritative. -RRB- Cubiculum gravis aperat! There's a long moment when nothing happens. A very long moment. Finally, a thoroughly frustrated Galen leaps to the window and rattles the bars. GALEN Open up, dammit! Fenestra gravis aperat! Asser gravis aperat! Divinitus! VOICE Salve, magistrum iuvenilum. Startled, Galen whirls around to find Elspeth standing outside his cell. She hands some food and blankets through the bars. ELSPETH I've studied Latin. Greek, too. Me appelo Elspeth, filia regis. Galen looks her over. He's never seen anyone so angelic. GALEN How do you do. ELSPETH Please do n't think ill of us. My father is a wonderful man, a wise man. The lottery was his idea. GALEN I see. ELSPETH You do n't understand. From the moment it began, the dragon was tame. The kingdom prospered. GALEN And only a few had to be sacrificed. ELSPETH Yes, that's true. Is n't it better that a few should die that many might live? GALEN Depends on who does the dying. ELSPETH Oh, but we all take our chances. My father is a just man. My name is entered on the lists, along with every other young - GALEN Virgin? ELSPETH Maiden. GALEN If you say so. ELSPETH What do you mean? GALEN -LRB- sighs. -RRB- Nothing. ELSPETH I've participated in every drawing since I came of age. GALEN Maybe. ELSPETH It's true. You do n't believe me. You think I'm lying. Well I'm not. GALEN I'm sorry. I heard a rumor. Families with money, that sort of thing. ELSPETH Do n't listen to rumors. They're lies. I have to go now. GALEN Wait - how long do I have to stay in here? ELSPETH Until we know. Not long. Goodbye. Vale. Dormi bene. She slips away down the corridor. LIBRARY King Casiodorus and Tyrian are huddled over a table piled high with manuscripts and papers. Tyrian clears a spot and sets out a stack of lead bars. KING That's enough. Let's not be greedy here. The King picks up Galen's amulet, and holds it over the bars in his clenched fist. KING Now then : I, Casiodorus Rex do hereby command thou base metal to change thy essence and become gold. There is a rustle of skirts and Elspeth appears behind him. ELSPETH Father? KING Not now. Tyrian, remove all but one bar. We'll try it one at a time. ELSPETH Father : did you know that some families have paid bribes to stay out of the lottery? The King and Tyrian glance up at her. KING Nonsense. By the power of this amulet, justly wielded by my hand in accordance with the laws of Urland, now lead be thou gold. The lead remains unchanged, but the King gives out a cry and drops the amulet. KING I'm burned! What devilish thing is this? ELSPETH Have you ever kept my name off the lottery list? KING That'll be all, Tyrian. You may withdraw. Tyrian bows and exits. The King uses his sceptre to pick up the amulet and chain. He conceals it in a hollowed - out book and places the volume on a shelf among many others. KING Now, my dear, what's troubling you? ELSPETH Answer my question : am I not exposed to the same risk as every other man's daughter? The King paces over to the window and stares out. The rain has stopped. ELSPETH Well? KING -LRB- finally. -RRB- Your father loves you very much. Elspeth sways in dismay. ELSPETH -LRB- a wail. -RRB- It's true! What have you done to me!? KING Who fills your head with such ideas? At that moment a tremor passes through the room. King and daughter look at each other in alarm. DUNGEON The same tremor shakes the bars in Galen's cell. Puzzled, he rolls off his straw palette and gets to his feet. The tremor dies away. Suddenly a violent shaking hits the cell, bouncing Galen off the walls. VILLAGE SQUARE Swanscombe is gripped by the same earthquake. Dodging panicky barnyard animals, Valerian and her father join other frightened villagers in the center of town. DRAGON COUNTRY Above the dragon's lair, boulders are shifting and grinding together. Massive chunks of stone break loose and tumble down the incline. GALEN The shaking has stopped. Rock dust filters down from the ceiling. Galen picks himself up and stares : the door to his cell is off its hinges and is sagging open. He darts out. CORRIDOR Galen dashes along the hallway, rounds a corner and stops. At the other end of the passage is Tyrian. TYRIAN You little meddler! It's alive! He draws his sword and advances. Galen warily retreats. Tyrian breaks into a run. Galen turns and sprints away. COURTYARD Unruly horses, terrified by the quake, rush blindly around the courtyard. Hostlers try vainly to catch them. Tyrian leans down from an upstairs window. TYRIAN Close the main gate! Quick! The men below scramble for the gates. Galen bursts out of hiding, sees the untended horses, and swings aboard as one goes past. A cry goes up from the guards. TYRIAN There! Stop him! Galen rides like mad for the exit, but he's a half - second late : the doors boom shut in his face. He wheels the horse around. The King's men are coming toward him with pikes. Digging his heels into the horse's sides, he urges the animal back across the courtyard, up the steps and right into the building! THRONE ROOM Galen gallops into the empty chamber, knocking over the throne and vaulting a table. Hot on his heels are armed soldiers. He kicks the horse again and shoots under an archway. KITCHEN The kitchen is already in chaos from the earthquake when Galen charges in on his wild steed. Food, utensils and cooks go flying. He reins in, ducks his head, and squeezes the horse out into a narrow hallway. HALLWAY He clatters down the passageway. But here comes a contingent of footmen from the opposite direction. Galen rides them into the walls! STAIRS The horse scrabbles up the stairs, Galen tucked low against its neck. On the upper landing he comes face to face with Tyrian and more soldiers. TYRIAN Get him! Stab the horse! Galen jerks the animal around and plunges back down the stairs. LIBRARY Whinnying and blowing the horse bursts in, a wild - eyed Galen still in the saddle. He finds himself confronting the King and his daughter. Casiodorus grabs Elspeth and retreats into a corner. KING Tyrian! Tyrian! Tyrian sweeps in with his men. The doors slam shut. KING So much for your magic! So much for your sorcery! Galen is trapped. Just as Tyrian reaches for the horse's reins, the animal rears up, rolling its eyes. At that moment the floor heaves and cracks in a new series of shocks. The men at arms go down like ten pins. Tyrian reels back, dodging stone blocks loosened from the ceiling. As the shaking continues, a weakened section of wall gives way. Galen sees daylight! Without even waiting for the quake to cease, he prods the horse across the room and through the wall to freedom.", "DRAGON COUNTRY - DAY The unnerved citizens of Swanscombe gather on the promontory overlooking Galen's landslide. Every few seconds there is a new shudder and more rocks pour down the long slope. Valerian stands trembling with her father. Presently Brother Jacopus elbows his way forward. BROTHER JACOPUS Listen to me, my brethren. The moment of our fear is the moment of our triumph. This is a sign from God. Follow me, and our faith will send this creature straight to hell. Holding a cross before him, he starts up the slope. No one follows. They have n't been Christians all that long. One or two near Valerian get down on their knees and pray silently. Greil looks things over. GREIL You call yourselves Christians? He strides after the monk. But he's the only one. NEAR THE LAIR The determined monk has arrived at the epicenter. His sandals are smoking on the hot gravel. Sweat shines on his face and neck. BROTHER JACOPUS The Lord is my shepherd, I shall not want. Thou makest me to lie down in green pastures. Thy rod and staff they comfort me. Greil toils up the slope a hundred yards back. He's crossing himself, but he's carrying a sickle. VERMITHRAX There is a thunderous noise. Part of the mountain is tossed into the air. Up from the depths comes a huge shining wing. Then a neck uncoils and a head appears. It tips down toward the tiny human. BROTHER JACOPUS -LRB- firm. -RRB-. for Thine is the kingdom and the power and the glory forever - amen. At the base of the slope the villagers scatter. Greil wavers. BROTHER JACOPUS Unclean beast, get thee down! Be thou consumed by the fires that made you! The dragon's head sways back and forth, then belches out a waterfall of flame. It engulfs Jacopus and sends him to a better world, if there is one.", "HILL ROAD - NIGHT Horse and rider race across a night landscape under brooding clouds. Up ahead, the sky glows with an angry red light. At the crest of a hill Galen reins in and looks down across a long valley. There, miles away, is the village of Swanscombe. Many buildings are ablaze. As he watches in horror, fires spring up in the fields and trees. Intermittently he can see the silhouette of the dragon as it spreads destruction. Finally the creature swoops up and away. Galen stares skyward, losing sight of it in the clouds. For a moment, silence. Then, with a thunderous rush of air that almost blows him from the saddle, the dragon reappears and hurtles a few feet over his head! It is gone in an instant.", "VILLAGE - NIGHT Half the buildings in the town are on fire. Desperate villagers dash here and there, herding children and animals to safety, trying to save their household goods. Galen walks woodenly into the confusion, leading his horse, taking in the scope of the disaster. He comes upon a line of men who have formed a bucket brigade. He attempts to join up. As soon as he is recognized, he is shouldered roughly aside. MAN Get away, you little bastard. We've had enough help from you. Galen staggers back, reaching for his horse. The animal shies and trots off. A middle - aged woman appears in front of him, her face contorted with rage. She swings a flaming broom and catches him on the back of the head. Galen reels away. WOMAN This is your doing! Galen looks up and sees a couple of burlies moving his way with boards in their hands. BURLIES Get him! He's back! Before they can get too close, Galen runs down an alley and bumps smack into a glassy - eyed, haunted man. It is Greil. GALEN Greil - help! GREIL May the Lord forgive you for what you have done. He pushes past. Galen ducks behind a smoldering building. VALERIAN'S HOUSE The roof has burned off, but at least the walls are standing. Valerian is wrestling charred timbers out of the center of the room. She is covered with soot. There is a hammering on the door and Galen barges in. He slams the door behind him and puts his back against it. GALEN It's me. Are you hurt? VALERIAN Where have you been? Does n't matter - listen : Quick! Make it rain. That'll put the fire out. GALEN I ca n't. VALERIAN Then get the animals back. They're all running loose. There's people been hurt. Stop their pain. You can cure them. And we'll need food. GALEN I ca n't do it. VALERIAN -LRB- this stops her. -RRB- What? Why not? Galen's hand moves up to where the amulet used to hang. GALEN I just ca n't. VALERIAN But you're a sorcerer. GALEN I'm no sorcerer. Whatever power I might have had, it's gone. VALERIAN It ca n't be! GALEN I know : I'm an imposter. A fraud. A fake. I'm sorry. For a moment, Valerian is too stunned to speak. Then her face colors. VALERIAN You're sorry?! Listen to that! The damn thing is loose, we're all on fire and you're sorry! Galen sinks to the floor and sits in the ashes. VALERIAN You did n't have the faintest idea what you were doing, did you? You're a fool - and I'm a bigger one for bringing you here. She snatches up a pitchfork and glowers at him. VALERIAN I do n't want you in this house. Get out. But Galen still sits there like a puppet with its strings cut, every dream of glory utterly crushed. This piteous sight touches Valerian's heart. Her gaze softens. She slowly lowers the pitchfork.", "TOWN SQUARE - DAY A knot of villagers lead Tyrian and his henchmen across the square directly to the blacksmith's shop. The King's men dismount and pound on the door. It swings open. Valerian is standing there. TYRIAN Where is he? VALERIAN Not here. I ca n't help you. A cry goes up from the villagers. They know damn well he's in there. VALERIAN'S HOUSE Tyrian pushes Valerian aside and steps into the room. Aided by some townfolk, his men proceed to ransack the premises, overturning barrels, sticking their swords through flour sacks, poking through the tumbledown thatch. Valerian's eye falls on Malkin, who has involved himself in the search. VALERIAN You too? MALKIN -LRB- returning her look. -RRB- Damn right. Finding nothing, the group pushes into the metal shop, where Simon is hammering an iron wheel rim back into shape on an enormous anvil. He lays down his tools and grimly watches the men go through, overturning benches and tables. Tyrian props a leg up on the anvil and addresses himself to Simon. TYRIAN As the proud new father of an eligible daughter who was some - how overlooked all these years, it may interest you to know that the King has called for a new lottery. SIMON But it's months til the solstice. TYRIAN In view of what's happened, we all know what's required. SIMON I've never taken part in your cursed lottery, and I'll have nothing to do with it now. TYRIAN You were very clever. But she'll take part, like all the rest. No exceptions. The search party has exhausted the room's hiding places. HENCHMAN Nothing. If he was here, he's gone now. Tyrian nods and leads the way out. Simon catches up and pulls Tyrian aside at the door. SIMON All right. I know what you want. How much? TYRIAN Are you offering me a bribe? SIMON Yes. TYRIAN Do n't waste your time. -LRB- pause. -RRB- You could never afford it. He spins on his heel and joins his men as they ride out of town. Valerian and Simon watch them go. When the riders are out of sight, they return to the shop. With a couple of stout poles, they strain to lift the anvil off its base. Finally it topples over. Valerian slides the base aside, revealing a trap door. She raises it and a cramped Galen unfolds himself from the space below. On his face is a curious look of determination. GALEN Smith - have you ever forged a weapon? WEAPONS Simon is going through a cabinet, tossing out hoes, rakes, sickles, scythes, plow blades, and a knife or two. Galen examines them doubtfully. Now Simon produces an armload of swords. Galen is impressed ; he looks them over carefully, testing and rejecting them in turn. GALEN These are your sharpest? Simon plucks up one of the swords, carries it to the center of the room. He lays a horseshoe on the anvil. He brings the sword down - whack! - and cuts the horseshoe in half. SIMON Even Tyrian carries one of these. Galen hefts it dubiously. GALEN It's sharp - but it's not sharp enough. Valerian has been watching all this with growing concern. VALERIAN Not sharp enough for what? GALEN For what I'm going to do with it. VALERIAN Nothing's that sharp. Simon gnaws his lip. Reluctantly, he brings a long box from the bottom of the cabinet. He opens it. Lying on a bed of silk is an exquisite two - handed broadsword. The flat blade gleams like a mirror. Galen reaches in and lifts it out. SIMON The best I ever made. Valerian is as awed as Galen. VALERIAN It's beautiful. Galen brings up a finger to test the edge. Simon grabs his hand away. SIMON Do n't do that! -LRB- he looks at Valerian. -RRB- Girl - child, when you were born I knew I had to do something, so I set about the task of fashioning an extraordinary weapon : I had the skill to make it -. -LRB- bleak pause. -RRB- - but not the nerve to use it. She looks at him with affection. Leaning forward, she plants a kiss on his bald pate. VALERIAN I'm thankful for that. -LRB- to Galen. -RRB- No man should choose a senseless death.", "STREAM - DAY Galen, Valerian and Simon tramp through a glade to a mossy bank. There a wide stream flows lazily under a canopy of trees. VALERIAN If it's me you're worried about, do n't. So my name has been entered, what of it? There are hundreds of girls. My name just wo n't be drawn. I know it wo n't. Galen walks out into the shallows and pushes the sword - tip into the sandy bottom, angled so that the edge splits the current. GALEN Valerian, this is n't just for your sake. He walks back to shore. All three watch the sword to see what will happen. SWORD Big flat oak leaves are gliding along the current. Very slowly, they go by the sword, some of them very close. Finally, one of them floats against the leading edge of the blade and without a ripple is cleft in two. Simon gives Galen a significant look. VALERIAN I do n't care. It does n't matter. What you want to kill is n't flesh and blood. SIMON Oh, it'll bleed, all right. VALERIAN How do you know? No one's so much as even scratched it. They look to Galen. The apprentice's face is full of doubt. GALEN I'll need the amulet. KING'S CASTLE - NIGHT Carrying torches to light their way, families - some with maiden daughters - gather from all over the country in the courtyard of the King's castle. Simon is there with Valerian, and so is Galen, disguised in rough farm clothes and a wide - brimmed hat. Like many others, he carries a stick topped with a bleached skull - to all appearances, just another participant in this weird pagan ritual. A barrel decorated with flames and dragon's wings sits on a raised dais in front of the main entrance. Horsrik, the King's herald, supervises preparations for the lottery. Armed guards appear carrying a sealed chest. Horsrik breaks the seal and the guards pour the contents - hundreds of wooden tiles, each bearing the name of a potential sacrifice - into the barrel. Trumpets blare and drums roll and the royal party strolls onstage : the King, his daughter, courtiers and Tyrian. Valerian nudges Galen. VALERIAN -LRB- pointing. -RRB- Look at her. The Princess. GALEN I know. We've met. Valerian gives Galen a sharp look. Horsrik unrolls a parchment. HORSRIK -LRB- reading. -RRB- People of Urland : whereas the peace of the kingdom has been disrupted by the mischief of an interloper ; and whereas this interloper being fled ; now therefore, his majesty the King hereby proclaims the sum of thirty ducats to be paid to anyone producing the miscreant Galen Bradwardyn, fraud enchanter, to our satisfaction. Galen pulls his hat low over his eyes. As the moment for the drawing approaches, Valerian becomes more and more uneasy. She pushes forward through the crowd until she's just below the barrel. She eyes the people around her. Some of them seem equally worried, others - the better dressed and better fed - are smug and complacent. The King and his retinue are serene. A chant goes up from the crowd : CROWD Stir the tiles! Stir the tiles! Horsrik picks up a wooden staff surmounted by a carved dragon's head and stirs up the names. This done, a new chant goes up : CROWD Bare the arm! Bare the arm! At a signal, a guard comes forward and cuts the sleeve from Horsrik's right arm. He holds it high. The crowd surges forward. The atmosphere is full of dread and excitement. Valerian looking pale and determined, is jostled and pushed to the edge of the platform. CROWD Draw the name! Draw the name! The moment has come. Down goes Horsrik's arm and up it comes, holding one little wooden square, one young woman's fate. An expectant hush falls over the mob. The virgins of Urland tremble and wait. HORSRIK Now, my countrymen, hear me : behold, for I am chosen. I shall die that many may live. I shall lay down my life for family and fellows. I shall go to my grave for the love of our King and his wise policy. And my name is - He looks down at the tile to read the name, but no sound comes to his lips. He looks back at the crowd, a cold sweat breaking over his face. He swallows, but still ca n't bring himself to speak. At his feet, Valerian is holding her breath. A new chant goes up. CROWD The name! The name! By now Horsrik is trembling. He stares down at the tile, his mouth set in a grim line. The King is getting annoyed. He gestures and the crowd falls silent. KING Read the name. HORSRIK -LRB- mastering himself. -RRB- The name is : Princess Elspeth Ulfilas, filia regis. There is a moment of profound shock. Then a low murmur of wonder moves through the crowd. Galen looks at Valerian ; she sags with relief. The King turns to his daughter. She shows nothing. He rises from his chair, comes forward and snatches the tile from Horsrik. KING That's not the name. It's been misread. Valerian will not stand for such hypocrisy. VALERIAN There's no mistake! The name's been chosen - let it stand! KING No, the good Horsrik has misspoke himself. -LRB- he looks at the tile. -RRB- In fairness to this individual, whose name I ca n't make out, we'll destroy this tile. He quickly tosses the wood chip into a brazier at his elbow. Led by Valerian, the crowd cries out in protest. VALERIAN No! What better name than your own kin? At last we see justice done! KING Silence! We will have a new choosing. I will draw the name myself. He reaches into the barrel and extracts another tile. He looks at it and his eyes widen. Betrayed, he swivels to face his daughter. The din of the crowd reaches a crescendo. CROWD Let it stand! Let it stand! Elspeth takes the tile from her father's nerveless fingers, looks at it with satisfaction and holds it aloft. ELSPETH The name is as you heard it and as Horsrik read it : Elspeth. The King moils through the tiles, finding his daughter's name again and again. KING The lottery is invalid. Another and another. What treachery is this? Valerian, chanting with the rest, falls silent. She looks at Elspeth with sudden interest and respect, then awe. ELSPETH Hear me, good people! It is true, that my name appears on many of the lots. This does not falsify the drawing, it certifies it! I have learned that my name has been kept from jeopardy in all the drawings in the past. So I have put my name among the rest many times - once for each risk that, over the years, you took and I did not. The crowd is dumbfounded. Gradually voices erupt in a cacophony of shouts, whistles and excited conversation. Galen sees his chance : there's an unguarded door near the stable. He drifts toward it and slips inside. THRONE ROOM Galen pokes his head in : the room is empty. He scurries over to a chest, flings it open and starts rummaging. Finding nothing he moves on to a cabinet. He breaks the lock and pries it open. Again, nothing. CASTLE CORRIDOR Galen can hear the voices in the courtyard as he rushes down a hall. Suddenly he stops short. There in front of him is a guard leaning out a window to watch the proceedings. Galen hovers on the verge of panic as the guard abruptly moves. But the man is only headed for another window and a better view. Galen manages to fall into step an arm's length behind him and slip by without a sound. LIBRARY Galen enters the library, his enormous shadow dancing crazily on the torchlit walls. Hurrying through, his attention is drawn to some open books on a table. Closer inspection reveals magical writings and symbols. Galen paws over everything, suddenly aware that he must be close to the amulet. But where is it? COURTYARD As the crowd disperses Valerian watches Elspeth walk back in the castle, lofty and composed. She looks for Galen and discovers he has gone. LIBRARY By now, the room is in total disarray. Galen has opened all the chests and trunks and knocked half the books from the shelves. No amulet. He's feverishly working on a locked drawer when a voice interrupts him. KING Do n't go to all that trouble. Galen whirls around to find the King standing in the doorway. The monarch looks shattered. Galen edges toward the split in the wall and finds that it has been shored up with timbers. At that moment Tyrian comes through the door, sizes up the situation and draws his sword. GALEN I'm unarmed. If you want a fight, at least give me a weapon. TYRIAN -LRB- pushing by the King. -RRB- I think not! KING Stop! Do n't harm him. -LRB- to Galen. -RRB- And you - do n't run away. please. The King's voice is cracking. Galen and Tyrian are equally taken aback. The King searches through the books remaining on the library shelves. KING -LRB- shaky. -RRB- I've always had the greatest admiration for the black arts. You chaps with your mysterious spells. I did n't think it would be necessary, you see. Vermithrax is an old dragon. And that, I thought, was the beauty of my plan - buying time. We'd wait her out. I'd live to see the end of her. -LRB- firm. -RRB- That's still going to happen. The King finds the book and takes the amulet out. With trembling hands, he passes it to Galen. TYRIAN Sire! KING He shall have it. -LRB- pleading. -RRB- It's my daughter. Save her, I beg you.", "VILLAGE - DAY The people of Swanscombe are clearing up the rubble and beginning repairs on their dwellings. Standing in their midst, lecturing every passerby, is Greil. He holds up the charred remains of Brother Jacopus' wooden cross. GREIL Holy of holies - he did not die in vain. Can you hear me, brothers? Some workmen go by lugging new thatch. Malkin is with them. MALKIN -LRB- gently. -RRB- We hear you, Greil. GREIL Well and good, but I'm Greil no longer. Call me Gregorius, after the Bishop of Rome. Malkin and the others stop to listen. GREIL I saw him die. Like Our Lord Jesus on the cross he was, scourged by evil. But he showed no fear. Such is the power of the Holy Ghost. BLACKSMITH SHOP Galen lurks in the shadows of Simon's metal shop looking out on the square where Greil is holding forth. GREIL Of what avail is magic? The old gods died with our daughters. From whence comest my help? My help comest from the Lord! Galen quietly shuts and bars the door. He moves deeper into the gloomy workroom where Simon is pumping a bellows to heat up the forge. Galen looks at the coals. SIMON Good and hot. GALEN Do n't bother. That's not the kind of fire we need. Valerian is staring at the sword, sitting on the anvil in its silk wrapping. Galen uncovers it, holds it high, and puts his hand on the amulet. GALEN Nunc, per Potestatem Hermeticum - ex flammis, ferrum sangrinarium! The sword starts to hum and to heat up. From the hilt outward the blade glows brighter and brighter : red, orange, white. It lights up the room, throwing long shadows into the corners. Galen lays the white hot steel on the anvil. Simon takes up his hammer and begins the reforging. Valerian sees their resolve. After watching for several moments she slips out the side door, looking sad.", "DRAGON COUNTRY - DAY Clouds scud low over the lifeless region. The dragon's lair now has a newer, bigger entrance. Vapors drift upward from it. Down the slope a lonely figure works its way from rock to rock : it's Valerian with a wicker basket on her arm, searching for dragon scales. The basket is already more than half full when she finds herself ominously near the mouth of the cavern. She's about to turn back when she spies a particularly large and beautiful scale just a few yards further on. As she reaches for it, there is a sudden hiss! She jerks her hand back and freezes. There in the shadows is a baby dragon, a basilisk, all coppery bronze with stubby winglets. As she backs away, she sees two more come up to join the first. They watch her retreat through wicked little green eyes.", "STREAM - DAY On the mossy bank Galen and Simon unwrap the reforged sword. Now the blade carries a faint blue halation. Galen walks to the middle of the current and once again stabs the tip down into the sand. Then he rejoins Simon onshore to await results. This time, as the oak leaves approach the sharp edge, they gently but definitely veer sideways to avoid contact. Such is the power of the sword that even after many leaves, not a single one has come close enough to be sliced. Simon is agog and even Galen seems satisfied. They clasp hands. SIMON An edge like no other on this earth. GALEN Well done, Simon. Thank you. Simon hands him a bundle of fighting equipment. SIMON -LRB- grave. -RRB- I'll say goodbye to Valerian for you. I'm sorry she's not here, but you know how she is. GALEN I understand. They look at each other for what could be the last time. SIMON Fare thee well. The old man departs. Galen unfolds the bundle and brings out its contents : mail hauberk with coif, studded leather gloves, padded jerkin, a scabbard and a small wooden shield. He lays them out on the stream bank, then strips off his tunic and kneels down to splash some water in his face. As the cups the water between his hands, an image comes alive and shimmers on the surface : Valerian, stripping off her own clothes, shyly turning toward him, solemn and romantic. VALERIAN Galen. It's as if the vision is speaking to him, but it's not. He spins around and sees her standing there, fully clothed, and possessed of a brisk and businesslike air. VALERIAN Here. She throws down a shield. It's remarkable in its construction - overlapping layers of iridescent dragon scales have been ingeniously fastened to a leather - clad frame. VALERIAN It's a shield. I made it. Might keep the fire off you. Might not. You know, you're an idiot. You're going to die tonight. You'll be ripped limb from limb. This is the last time I'll ever speak to you. Galen turns the shield over and over, marveling at it. He fixes her with a piercing look. GALEN Thank you. VALERIAN -LRB- rushing. -RRB- Another thing. That thing is n't alone up there. There's little ones. Young, I think. I do n't know how many. She shudders. Galen's eyes are still fastened on her. She's fighting to retain her hard manner, but the agitation and dread are plain. GALEN Hatchlings. They'll have to be killed too. Anything else? Valerian wants to be bold, but on this final point, ca n't muster the courage. VALERIAN -LRB- tiny voice. -RRB- You're in love, are n't you? GALEN -LRB- slowly nodding. -RRB- Yes. VALERIAN That's all right. I understand. She's very beautiful, very brave. GALEN Who is? What do you mean? VALERIAN Your Princess. But I do n't care. It does n't change the way I feel. -LRB- firm. -RRB- Listen to me, Galen Bradwardyn, sorcerer's apprentice ; you're going to be dead, the dragon will be worse than ever, there will be more lotteries, and I'm not a boy any more. GALEN And you'll be eligible because - VALERIAN Because I'm still a virgin, and I want you to do something about it. Galen takes her in his arms ; she is trembling. He tilts her face up toward his and kisses her. GALEN I am in love. But not with the Princess. Their image is reflected in the waters. Through the ripples she is visible pulling briefly away to remove her clothes. From afar, they are two tiny figures under the overarching oaks and willows. They embrace and sink down into the deep grass beside the water. The leaves continue their unhurried course downstream.", "DRAGON COUNTRY - NIGHT A cold wind whistles through the rocks near the dragon's lair. By the light of a flickering torch two workmen finish driving a heavy post into the ground. As they affix a pair of iron manacles they see the torches of a procession coming up the slope. They hurry down to meet it. Horsrik is in the lead, followed by soldiers and royal attendants. Elspeth rides in the tumbril behind a blindfolded horse. Bringing up the rear is Tyrian. At last the cart can go no further. Elspeth alights and leads the rest of the troop to the post. As the soldiers put the irons around her wrists, Horsrik unrolls a parchment, turns his back on the wind and begins to read : HORSRIK Now be it known throughout the kingdom, that the Princess, having been chosen by a deed of fortune and destiny - Horsrik blinks. There's a black stain growing in the middle of the parchment ; all at once it bursts into flames. He cries out and flings the document away. There follows a flash of light and a puff of smoke and Galen is standing there, as if he had materialized out of thin air. Horsrik and his startled men backpedal down the slope. HORSRIK No fire, I beg you. Galen raises his hands in a menacing gesture. GALEN Be gone! That's enough for Horsrik and company : he and the soldiers depart. HORSRIK -LRB- over his shoulder. -RRB- I declare these proceedings duly ordained. Only one man remains behind the challenge the young sorcerer : Tyrian. He draws his sword. TYRIAN I knew I'd find you here. Well, I'm not as sentimental as some. The kingdom, every one of us, need this sacrifice. If you intend to interfere, you'll have to kill me. GALEN I've got plenty of reasons to kill you that have nothing to do with this sacrifice. Galen draws his own sword. As it emerges into the night air it seems imbued with a blue phosphorescence. TYRIAN Most impressive. Can you use it? Elspeth twists around in her chains. ELSPETH Let it be! Please! Tyrian is right - it's our only hope! Galen starts to reply, but as soon as his attention wavers, Tyrian is lunging toward him, sword point directed at his neck. Galen barely manages to parry the thrust before Tyrian is at him again, blade swinging toward his knees. Galen drops the tip of his sword to catch the blow. When the two steel edges connect, sparks fly. In a series of thrusts and counter - thrusts, each accompanied by a shower of sparks, Tyrian backs Galen up the mountain. ELSPETH Tyrian - both of you - run! Flee! It's coming! Sure enough, at that moment the earth gives out a low moan and undulates in a sickening movement. Vapors begin rising from the lair. TYRIAN In a trice! This is no swords - man. He might be right, for Galen turns and bolts across the slope. When he reaches the post with Tyrian two steps behind, he whirls and brings his blade down on Princess Elspeth's chains. The chains part in an explosion of sparks. GALEN Run! Get out of here! The Princess darts from the piling as Tyrian swoops down to continue the attack. Galen dodges and the stake catches Tyrian's blow. The earth shakes again. Galen glances at the Princess. GALEN No! Stop! What are you doing? Elspeth is not running away down the mountain. Instead she is walking, slowly and deliberately, right into the smoking cave. Swoosh! Tyrian's sword comes down again. The dismayed sorcerer ducks back and Tyrian's blade again bites deep into the wood. TYRIAN You've failed, my friend, and I thank the gods for it. Come out from behind that post. It's now or never. Elspeth is no longer in sight. Galen grits his teeth, grasps the sword with two hands and swings it as hard as he can in a wide arc. The blade never even slows down as it sails right through the post, lopping it clean off. The glowing sword flashes above Galen's head and eagerly buries itself in Tyrian's chest. The King's man is as startled by the amputated piling as he is by his own death. His eyes roll up in his head, his knees buckle and he topples backward - the blade sliding free. DRAGON'S LAIR Smoke swirls at the mouth of the cave as Galen enters, holding his sword before him, lighting his way with its faint blue glow. GALEN Elspeth! The floor of the cave as it winds down into the mountain is paved first with rock, then with dragon scales, then with bones. With each footfall, clusters of mysterious insects scuttle away. Galen pauses to mop his brow ; it's getting hot. A sound echoes up from the depths, a grinding sound like the gnashing of teeth, followed by hissing and squealing. Galen grips his sword tighter and pushes on. Suddenly he stoops and picks up an embroidered slipper : Elspeth's. The grinding sounds are louder. He hurries forward and rounds a corner. He stops and gags. BASILISKS Two disgusting little reptiles - like scaly raccoons - are perched on the corpse of Princess Elspeth Ulfilas, feeding contentiously on choice bits of the royal flesh. Galen groans : he lashes out and his sword beheads one of the tiny monsters. The other one buzzes its half - formed winglets and hisses a hot stream of air. Galen brings down the sword and slices it in half. Eyes riveted on Elspeth's remains, he edges around the carnage and backs away. Hissss! - there's a third one, lurking in the shadows, munching on something ; it might be a hand. Galen shrieks and jumps away. The little creature comes at him and clamps its jaws on his leg. Galen stabs at it repeatedly. Finally it lets go, and flails and flops across the bloody floor, ululating its death agony. As the creature's last mewlings echo down through the cavern, the ground quivers. Bits of stone fall from the ceiling. LAKE OF FIRE Galen works his way down a narrow passage whose walls are alive with insects and beads of sulphurous water. As before, he holds the sword in front of him ; he marvels at its increasing brightness. The heat is increasing too ; sweat mats his hair and runs down his face. A few yards further on the sword starts pulsating. Now the walls take on a flickering rosy sheen and the passage widens into an underground vista of staggering immensity : an underground lake, its surface bubbling and torn with sheets of flame. Arching over it is a vault of stone, penetrated here and there by natural chimneys. The dimensions of this internal world are unknown - the fiery lake disappears into half a dozen side chambers. The one clear path is accessible only by a series of flat stones leading across the hot liquid. Galen grips his sword and resolutely hops from rock to rock. VERMITHRAX He's halfway across when the earth rumbles and the stepping stones teeter beneath his feet. A fiery wave washes over his legs, leaving his boots smoking. Another tremor knocks Galen to his knees. As he scrabbles to pick up his sword and shield, the great head of Vermithrax rises up out of the depths on its long neck. It gazes at him through huge pale eyes under armored lids. A tongue flicks out and runs around its lipless mouth. The head sways from side to side. The mouth hinges open, the nostril - like igniters come on and touch off the jet of gas squeezed up out of its innards. A roaring tube of flame engulfs Galen. He crouches behind his dragon scale shield which deflects the fire just enough to save his life. The dragon pauses to take a breath. Galen springs to his feet, and bounds back the way he came, his skin and clothing singed. Flames lick at his back as the dragon lets fly with a second burst. TUNNEL Coughing and weeping, Galen staggers up through the tunnel, nearly tripping over the body of one of the baby dragons. A few seconds later, Vermithrax follows, squirming and clawing its way upward. When it reaches its dead offspring it surveys the scene with expressionless eyes. Bringing its head low, it sniffs and nudges at the lifeless little ones. AMBUSH At that moment Galen leaps out from behind a niche in the tunnel wall and lunges forward. Striking sparks, the point of his sword slides across the dragon's plated cheek and stabs deep between the scales of its heavy neck. There is an unearthly shriek and the creature flicks its head back and upward. Galen goes sprawling and finds himself holding half a sword. The rest is buried in the beast's neck, and Vermithrax does n't like it. It flings its head this way and that, knocking rocks loose from the ceiling. Its movements cause the ground to quake. As boulders tumble around him, Galen drops to the floor under his shield. Dragon flame reaches through the cascading debris and washes over him. DAWN Valerian roams the rock - strewn slope not far from the dragon's lair. Presently she comes upon a once - familiar object - the fire shield. Half the scales are gone, the rest are charred and curling. Grimly, she moves on. A few paces away she picks up the blunted sword. She scans the rocks and finally sees what she's looking for. GALEN He's lying face down behind a boulder, his clothes charred, patches of skin scorched. He looks dead. Valerian rolls him onto his back. She gasps : the eyes are open, regarding her. GALEN Still alive.", "BLACKSMITH SHOP - DAY Simon is standing by the anvil with the broken sword in his hand, lost in thought. HOUSE In the adjoining house Valerian tends Galen's wounds. He's propped up on a palette enduring the application of poultices. VALERIAN You know what we have to do. -LRB- he looks at her with dull eyes. -RRB- We have to leave Urland. He winces in pain. VALERIAN Not because of what happened. I brought you here - it did n't work - now I'm taking you away. Do you understand? -LRB- Galen does not react. -RRB- You said you loved me. Is it true? If it is, it's the only good we've done. Let's not lose that too. -LRB- pause. -RRB- Galen? He seems miles away. She turns aside, on the verge of tears. Simon is standing there, still holding the sword hilt. SIMON She's right. What kind of a life could you have here? It's too late for me, but you're young enough. -LRB- he shows them the sword. -RRB- You know what I think? Magic is dying out, fading from the world. But that makes me happy. That means the dragon will be dying too. Galen looks at him ; he has heard everything. He sits up and fondly regards Valerian. PACKING Valerian packs her belongings into a rucksack. The last item in is her blue frock, carefully rolled. Beside her, Galen dons clean traveling clothes. He stiffly crosses the room and drags his pack out of the corner. He sorts through the effects, and amidst the clothing and supplies discovers the leather pouch containing Ulrich's remains. He contemplates it. VALERIAN What's that? GALEN Nothing. I was just thinking - poor Hodge. He tucks the pouch away, throws some clothes on top and ties the satchel shut.", "STREAM - DAY Beside the quiet stream Simon bids farewell to the young couple, embracing each in turn. They slosh across the shallow water and follow a path into the woods.", "VILLAGE SQUARE - DAY Greil is standing outside the half - burned grange hall, summoning the Christian faithful. He proclaims the call to worship by hammering on a small bell. One by one the townsfolk arrive. Among them is Simon, looking bereft.", "FOREST PATH - DAY Valerian and Galen trudge along side by side. VALERIAN How's your leg? GALEN Hurts. That thing was small, but its teeth were sharp. VALERIAN At least you killed it. You got all the young. This is small consolation, and Galen sighs. GALEN But the big one's alive. Somewhere down in that burning lake. VALERIAN Do n't think about it. You had your fight, and you're still here. That's more than anyone else can say. Let's think about what lies ahead. She reaches out to take his hand. But Galen is no longer at her side. She stops and looks back. GALEN Galen has come to a halt in the middle of the path. He's staring into the middle distance with a sudden inspiration bubbling in his brain. He flings off his sack, drops to his knees and tears through the contents. Valerian comes back, baffled. Galen's gear is strewn all over the trail. VALERIAN What are you doing? Galen comes up with what he's looking for - the leather sack. When he replies, it is not to her, but to Ulrich : GALEN You old trickster! The burning water! The lake of fire! VALERIAN Galen, what are you saying? He regards her with astonishment. GALEN He had it planned. He knew this was going to happen. VALERIAN Who did? What happened? GALEN We've got to go back, I want to talk to him! He heads back down the trail, leaving his belongings on the road. VALERIAN Where are you going? She hurries after him.", "GRANGE HALL - DAY Greil, a.k.a. Gregorious, stands in the center of the burned - out granary, delivering a sermon. Behind him, men are filling the baptismal cistern. GREIL The Church is mother to us all. Not just one lonely orphan who has lost his way, not just a few, but all of us that believeth in Him. When enough voices come together in prayer, He shall hear, we shall live and the beast shall die. In the gathering Simon ponders the hilt of his once fabulous sword. With its blade shortened, it looks a lot like a crucifix.", "DRAGON COUNTRY - DAY Galen bounds up the rocky slope as fast as he can manage, trailed by a desperate Valerian. VALERIAN Galen, stop! Please, I beg you! But Galen pays no attention. In a burst of speed and fury, Valerian comes up behind and tackles him. VALERIAN Stop! I wo n't let you kill yourself. Galen waves the leather pouch in Valerian's face. GALEN He could n't walk - he knew he could n't make the journey. So he had us make the journey for him! Do n't you see? He jumps up and runs to the mouth of the lair. VALERIAN -LRB- pursuing. -RRB- No! She tackles him again. VALERIAN All right, all right. You're going in there, I'm going too. GALEN -LRB- brought up short. -RRB- What? Why? No you're not, this is my job. Absolutely not. But Valerian springs to her feet and starts into the lair. VALERIAN I'm not afraid. And you're not going to stop me. After all - I've been a man longer than you have. Galen pauses long enough to snatch up a discarded torch near the remains of the wooden stake, then charges after her. UNDERGROUND Running footsteps resound in the steamy passageway and Galen comes around the corner holding his torch high to light the way. Valerian stumbles after him. He grabs her hand. GALEN Stay close. Down and down they go. Soon they reach Elspeth's body. VALERIAN What's that? GALEN Never mind. Come on. But she pulls the torch from his hand and goes over to see. GALEN All right. Wait here. He darts off. In the flickering torchlight Valerian can see the Princess' remains all too clearly. She suppresses a scream. VALERIAN Galen? Galen? Where are you? No answer. The torch reveals several passages. She does n't know which one to take. LAKE OF FIRE The passage widens out and once again Galen is standing on the shores of the lake of fire. He looks around. The water is rolling with bubbles of gas, and flames run hither and yon across the surface, but there is no sign of the dragon. Gathering his courage, he hops across the stepping stones to the middle of the lake. There he hurriedly opens the pouch. GALEN Ex favilla, vita nova! Gripping the amulet with his free hand, he scatters Ulrich's ashes in a wide arc over the burning water. Instantly, there is an ominous rumble and the earth gives a shrug. But no wizard appears. No dragon, either. There follows another and stronger quake. Galen crouches to keep his balance. Still no wizard. OUTSIDE Thoroughly bewildered, Valerian stumbles out into daylight. She wanders a few yards down the slope and collapses against the stake. Something is strange : it's getting dark. Squinting up at the sun, she frowns in puzzlement, then gapes at what is happening. ECLIPSE Slowly and ponderously the black disk of the moon slides over the face of the sun, plunging the world into crepuscular half - light.", "GRANGE HALL - DAY The congregation is confused and frightened by the sudden darkness. GREIL Be calm. He watcheth over us! And this is His sign! Let us pray! Our Father who art in heaven. The faithful bow their heads and join in. Simon as well. LAKE OF FIRE The earthquakes have subsided ; the water is calm. Galen stares bleakly into the flames. As he watches, they gather themselves into a lazy spiral. Gradually the spiral speeds up and becomes a vortex. Now the flames become tinged with green, and as the cavern moans with the sound of rushing air, a form takes shape at the crest of a jet of flame. It is Ulrich, supine as upon his pyre, reforming before Galen's eyes. GALEN Ulrich! Magister! Over here! I can see you! Over here! ULRICH -LRB- looks at him. -RRB- Not so loud. I'm not deaf, you know. He slowly raises himself into an upright posture and strides through the flames. ULRICH Sic redit magus ex terra mortis. The apprentice throws himself at his master's feet. GALEN Wonder of wonders - you're back! I thank the powers that made me! ULRICH Glad to see you, too. You did n't bring along anything to eat, by any chance? GALEN Food? ULRICH No? Oh well, no time anyway. OUTSIDE Valerian is standing in the unearthly twilight, anxiously peering into the mouth of the lair. Suddenly she is hit from behind by a gust of wind. She does not turn to see the enormous Vermithrax alighting silently behind her. GALEN & ULRICH Ulrich raises Galen to his feet. ULRICH Come along. There's much to be done. GALEN Wait, I have something to tell you. ULRICH It can wait. GALEN No it ca n't. Listen : I thought I was a sorcerer - but I was n't. I thought I had power - but I did n't. I thought I was you - but I'm not. He hangs his head. Ulrich regards him steadily. ULRICH Well said. Now hurry. He leads the way across the rocks to the shore and into the tunnel. VALERIAN Time seems to have come to a stop. Overhead, the moon is locked in front of the sun. At the lair, Valerian stands frozen as the dragon leans over her. The great head sways from side to side. The jaws hinge open. Suddenly, Valerian recovers herself and makes a run for it, leaping and scrabbling over the rocks. A plume of flame licks at her heels. She sees a protective crevice and heads for it, but a winged claw drops to block her way. She changes direction and is cut off again. Cat and mouse. VERMITHRAX The pale yellow eyes stare implacably down at the hopeless victim. The igniter jets come on, then off, as the beast suddenly stiffens. The head rotates, almost as if catching a new scent. Finally the eyes focus on the entrance to the cavern. ULRICH There is the sorcerer, leaning on Galen, coolly regarding the creature. The old man's expression hardens. ULRICH Draco draconis. The dragon lifts its wings as if to menace them, then flaps twice and is airborne. The thing shoots overhead and, with a rush of wind, flies off into the gloom. IN THE ROCKS Valerian struggles out of her hiding place. VALERIAN Galen! Galen runs to her. They embrace. When they look up, Ulrich is at their side. ULRICH Where's my amulet? Give it to me, please. Galen's hand locates the jewel under his shirt. He finds himself reluctant to part with it. With a hurricane howl, a column of flame touches down nearby and rushes toward them. They stagger back as the dragon sweeps past. ULRICH Be quick! Galen hands his treasure over. Ulrich closes his hand around it. ULRICH Come close to me. Galen and Valerian approach. The old man's hand is suffused with an internal glow. Behind them, the dragon is turning for another pass. VORTEX All at once the glow brightens, and in another instant the world spins off into a blur, setting all three afloat in a timeless netherworld. Valerian and Galen cling to each other in terror. ULRICH Do n't be afraid. You have served me with great courage. Now you must show me you have even more. GALEN Anything! The voices seem to be coming from a huge distance. Starlike gleams whiz by, and fleeting glimpses of half - recognizable faces and forms. The wizard's eyes are like glittering crystals. Tiny motes and planetoids dance in the hairs of his beard. He seems wreathed in luminescence. ULRICH You must destroy the amulet, and me along with it. GALEN No! ULRICH You brought me from the flames, you must send me back. GALEN I ca n't. ULRICH When the time comes, you'll understand. Here. He dangles the amulet in front of Galen. Even more reluctantly than he let it go, he takes it back. MOUNTAIN TOP Abruptly, the vortex is gone and they find themselves atop a rocky crag overlooking the eclipse - darkened fields and farms of Urland. Galen glances at his surroundings and stares at the amulet, full of awe. ULRICH I know what you're thinking. You have learned much and done well. Do n't worry, you wo n't need it any more.", "GRANGE HALL - DAY Greil is urging Simon, the last of the converts, into the cistern. GREIL Make haste, brother. He dips Simon's head under water. GREIL Now be thou baptized in the name of the Father, Son and Holy Ghost. May the Lord our God light our way. In the background, half the congregation is staring through the burned - out walls, fervently praying and crossing themselves, wondering if they'll ever see the sun again. A cry goes up : a shape crosses the solar corona, wheels over the village and streaks away toward the mountains - the dragon. MOUNTAIN TOP Galen and Valerian peer out from behind a boulder and watch Ulrich hobble perilously close to the edge of the cliff. The old man spreads wide his arms and tilts his head back. ULRICH Nimbus! Tempestas! Fulmen! From over the horizon roiling inky - black clouds churn down upon them. Thunder booms and echoes. A bitter wind whips their clothing. As the storm gathers fury, the dragon reappears, circling in the distance. Finally it homes in on the mountain crag and dives at Ulrich. The conjurer makes a gesture and strokes of lightning explode against the beast's scaly flanks. It emits a high thin scream and rockets past. GALEN & VALERIAN Valerian crawls away and comes back with a hefty chunk of granite. VALERIAN Here. Do as he said. Smash it. GALEN Not if it means killing him. ULRICH He resolutely waits as the dragon banks against the clouds and starts another pass. Again, the sorcerer summons lightning bolts. But the dragon keeps coming ; this time a talon splits the old man's cape. GALEN & VALERIAN Valerian wrestles the amulet away from Galen. It falls to the ground. VALERIAN You heard what he said. She lifts the chunk of stone. Galen grabs for it. GALEN No! You ca n't! THE LAST ATTACK Vermithrax spirals up into the storm, then drops earthward. Ulrich watches as the beast comes straight at him. He folds his arms and bows his head. Leathery wings humming, the creature levels out, swoops up past the crag and lifts the master magician away in its huge hind claw. ULRICH Galen! Galen and Valerian are horrified to see the dragon circling upward with the sorcerer writhing in agony in its grip. As the monstrous thing flies high over them, they can hear Ulrich's faint screams. DEATH Now Galen understands. He seizes the granite block from Valerian and raises it with both hands over his head. He takes a final look at the amulet, glowing at his feet, then brings the rock down with all his might. There is a blinding flash as it shatters into a million fragments. Far above there is another blinding flash as Ulrich's earthly body explodes against the belly of the beast. The darkened sky lights up as huge gouts of flame spew forth from the dragon's gut. Wings fluttering uselessly, this reptilian torch plummets to the ground. LAKE Below, a stock pond nestled in the foothill pastures. Trailing a wake of flame, Vermithrax plunges like a comet into the water. There is a stupendous splash and eruption of steam. GALEN & VALERIAN They stare down from their lofty perch, watching as further explosions boil the water from the pond. ECLIPSE Behind a tattered wrack of cloud, the moon slowly uncovers a pale sun.", "THE CARCASS - DAY Grey misty light reveals the beast's mangled remains. Galen and Valerian emerge from the fog, walk under a blackened wing and make their way through the mud and loose scales to the huge charred head. The death agony has twisted it upside down. The mouth is frozen in a grotesque look of surprise. The eyes are glazed. Now the sound of voices floats toward them, chanting an ancient hymn. A moment later a mob of Christians, led by Greil, crests a hill and moves toward the hulk. The song ends. GREIL Let us pray. The members of the congregation fall to their knees. GREIL We thank thee, Lord, for this divine deliverance. Verily is thy presence amongst us, fully manifest in this, thy great work. Galen and Valerian look at each other. She takes his hand. GREIL Arise, children of the Lord and forsake evermore the pagan mysteries. Rejoice in the true power of the Christian God! Galen turns and leads Valerian away. They disappear into the mist.", "FLENSING - DAY In the clear light of a new day, ladders have been tipped up against the creature's back. Teams of men swarm over the crusted flesh, slicing off long strips for piecemeal burial. Below, yoked oxen drag the heavy carrion away on sledges. In the background other workmen dump the remains into an open pit. THE KING With the crack of a whip and the clatter of hooves, the royal coach pulls up to the shore of the lake. A door creaks open and King Casiodorus totters out. His face is puffy, his eyes are red. He slogs through the mud to the head of the dragon and commences hacking at it with a ceremonial sword. Horsrik steps out of the coach and draws himself up. HORSRIK -LRB- loud. -RRB- All hail Casiodorus Rex - Dragon slayer! The workers pause long enough to listen to this pronouncement and cast a glance at the sorry spectacle. Wordlessly they resume their labors. HORSRIK -LRB- nodding. -RRB- Hail and praise be!", "ON THE ROAD - DAY The trail leads through copses and open meadows. Side by side, Galen and Valerian march up a long slope under a hot sun. He limps a bit ; she finds a staff and hands it to him. VALERIAN You want to rest? GALEN No. I'm fine. VALERIAN You miss Ulricn. GALEN Yes. VALERIAN And the amulet. GALEN That too. VALERIAN Not me. I'm glad it's gone. I'm glad you did what you did. -LRB- he does n't reply. -RRB- You may not be a sorcerer, Galen, but I love you anyway. I do n't regret anything that happened. I just wish - GALEN Yes? VALERIAN -LRB- sighs. -RRB- - that we had a horse. Galen falls a step behind. He briefly closes his eyes and mutters something. They walk on a few paces. Then there is a whinny from the nearby woods and a white stallion canters forth. It crosses a meadow, comes right up to Valerian and nuzzles her. VALERIAN What is this? GALEN A horse. VALERIAN Did you!? GALEN No. It must have been wandering loose. Or wild. Galen climbs aboard. He reaches out to help her up. VALERIAN Wait a minute. I just wished for a horse and here it is. GALEN You do n't want to wish it gone, do you? She thinks for a moment, then lets him help her up. Galen touches the horse's flanks with his heels and they ride off. THE END" ]

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[ "EXT. SPACE A vast sea of stars severas as a backdrop for the Main Title, following by a rollup, whcih crawls into infinity. There is unrest in the Galactic Senate Several hundred solar systems under the leadership of the rebel leader, Count Dooku, have decalred their intentions to secede from the Republic. This separatist movement has made it difficult for the limited number of Jedi Kights to maintain peace and order in the galaxy. Senator Amidala, the former Queen of Naboo, is returning to Coruscant to vote on the critical issue of creating an army to assist the overwhelmed Jedi. PAN UP to reveal the amber city planet of Coruscant. A yellow Naboo Fighter flies OVER CAMERA toward the planet, followed by a large Royal Cruiser and two more Fighters.", "EXT. CITYSCAPE, CORUSCANT - DAWN The ships skim across the surface of the city landscape. The sun glints off the chrome hulls of the sleek Naboo spacecraft as they navigate between the buildings of the capital planet.", "EXT. CORUSCANT, LANDING PLATFORM - DAWN Two Naboo Fighters land on one leaf of a three - leaf - clover landing platform. The Royal Starship lands on the central lead, and the third Fighter lands on the remaining plaform. A small GROUP OF DIGNITARIES waits to welcome the Senator. One of the members of the group os a well dressed JAR JAR BINKS, a member of the Galactic Representative Commission, and DORME, Senator Amidala's handmaiden. One of the FIGHTER PILOTS jumps from the wing of his ship and removes his helmet. He is CAPTAIN TYPHO, SENATOR AMIDALA'S Security Officer. He moves over to a WOMAN PILOT. CAPTAIN TYPHO We made it. I guess I was wrong, there was no danger at all. The ramp ; pwers. TWO NABOO GUARDS appear. SENATOR AMIDALA, ONE HANDMAIDEN -LRB- VERSE -RRB- and FOUR TROOPERS descend the ramp. AMIDALA is more beautiful now than she was ten years earlier when, as Queen, she was freeing her people from the yoke of the Trade Federation. The DIGNITARIES start to move forward. SENATOR AMIDALA reaches the foot of the ramp, when suddenly there is a blinding FLASH and a huge EXPLOSION. The DIGNITARIES and PILOTS are hurled to the ground as the starship is destroyed. Klaxons blare, alarms sound! CAPTAIN TYPHO and the TWO ESCORT PILOTS get up and run to where SENATOR AMIDALA lies dying. Beyond, ARTOO DETOO drops down from the Naboo Fighter and rolls toward the wreckage. The FEMALE ESCORT PILOT kneels by SENATOR AMIDALA and takes off her helmet, revealing SENATOR PADME AMIDALA. PADMÉ Cordé. She gathers up her decoy double in her arms. Cordé's eyes are open. She looks up at her. CORDÉ I'm sorry, m ` lady. I'm. not sure I. CORDÉ dies. PADMÉ hugs her. AMIDALA No! No! No! PADMÉ lowers CORDÉ to the ground. She gets up and looks around at the devastation. There are tears in her eyes. AMIDALA I should not have come back. CAPTAIN TYPHO M'Lady, you are still in danger. Amidala says nothing. CAPTAIN TYPHO This vote is very important. You did your duty and Cordé did hers. Now come. -LRB- she does n't respond. -RRB- M'Lady, please! She turns. They walk away. ARTOO lets out a small whimper and rolls off after them.", "EXT. SENATE BUILDING - DAY The massive Senate Building glistens in the afternoon sun. Small patches of fog have still to burn off.", "INT. SENATE CHAMBER - DAY The vast rotunda is buzzing with chatter. MAS AMEDDA, the Supreme Chancellor's majordomo, tries to quiet things down as PALPATINE confers with an AIDE, UV GIZEN, riding a small one man floating scooter. MAS AMEDDA Order! We shall have order! The motion for the Republic to commission an army takes precedent, and that is what we will vote on at this time. Everything quiets down. The AIDE disperses, and SUPREME CHANCELLOR PALPATINE steps to the podium. PALPATINE My esteemed colleagues, excuse me. I have just received some tragic and disturbing news. Senator Amidala of the Naboo system. Has been assassinated! There is a shock silence in the vast arena. PALPATINE -LRB- continued. -RRB- This grievous blow is especially personal to me. Before I became Chancellor, I served Amidala when she was Queen. She was a great leader who fought for justice, not only in this honourable assembly, but also on her home planet. She was so loved she could have been elected queen for life. She believed in public service, and she fervently believed in democracy. Her death is a great loss to us all. We will all mourn her as a relentless champion of freedom. and as a dear friend. There is a moment of silence. ASK AAK, the SENATOR of MALASTARE, moves his pod into the centre of the arena. SENATOR ASK AAK How many more Senators will die before this civil strife ends! We must confront these rebels now, and they need an army to do it. A second pod moves into the centre of the area with DARSANA, the AMBASSADOR OF GLEE ANSELM. AMBASSADOR DARSANA Why were n't the Jedi able to stop this assassination? We are no longer safe, under their protection. Senator ORN FREE TAA swings forward in his pod. ORN FREE TAA The Republic needs more security now! Before it comes to war. PALPATINE Must I remind the Senator from Malastare that negotiations are continuing with the separatists. Peace is our objective here. not war. The SENATORS yell pro and con. MAS AMEDDA tries to calm things down. SENATOR PADME AMIDALA, with CAPTAIN TYPHO, JAR JAR, and DORME, manoeuvre her pod into the centre of the vast arena. AMIDALA My noble colleagues, I concur with the Supreme Chancellor. At all costs, we do not want war! The Senate goes quiet, then there is an outburst of cheering and applause. PALPATINE It is with great surprise and joy the chair recognises the Senator from Naboo, Padmé Amidala. PADMÉ Less than an hour ago, an assassination attempt was made against my life. One of my bodyguards and six others were ruthlessly and senselessly murdered. I was the target but, more importantly, I believe this security measure before you, was the target. I have led the opposition to build an army. but there is someone in this body who will stop at nothing to assure it's passage. Many of the SENATORS boo and yell at SENATOR AMIDALA. PADMÉ -LRB- continuing. -RRB- I warn you, if you vote to create this army, war will follow. I have experienced the misery of war first - hand ; I do not wish to do it again. There is sporadic yelling for and against her statements. PADMÉ Wake up, Senators. you must wake up! If you offer the separatists violence, they can only show us violence in return! Many will lose their lives. All will lose their freedom. This decision could very well destroy the very foundation of our great Republic. I pray you do not let fear push you into a disastrous decision. Vote down this security measure, which is nothing less than a declaration of war! Does anyone here want that? I can not believe they do. There is an undercurrent of booing. and groaning. SENATOR ORN FREE TAA moves his pod next to AMIDALA. ORN FREE TAA My motion to defer the vote must be dealt with first. That is the rule of law. AMIDALA looks angry and frustrated. PALPATINE gives her a sympathetic look. PALPATINE Due to the lateness of the hour and the seriousness of this motion, we will take up these matters tomorrow. Until then, the Senate stands adjourned.", "EXT. EXECUTIVE QUARTERS BUILDING - DAY The giant towers of the Republic Executive Building seem to reach the heavens. Traffic clogs the smoggy sky.", "INT. CHANCELLOR'S OFFICE - DAY CHANCELLOR PALPATINE sits behind his desk with TWO RED - CLAD ROYAL GUARDS on either side of the door. YODA, PLOT KOON, KI - AD - MUNDI, and MACE WINDU sit acress from him. PALPATINE I do n't know how much longer I can hold off the vote, my friends. More and more star systems are joining the separatists. MACE WINDU If they do break away - PALPATINE No! I will not let that happen! MACE WINDU But if they do, you must realise there are n't enough Jedi to protect the Republic. We are keepers of the peace, not soldiers. PALPATINE Master Yoda, do you think it will really come to war? YODA closes his eyes. YODA Worse than war, I fear. Much worse. PALPATINE What? MACE WINDU What do you sense, Master? YODA Impossible to see. The Dark Side clouds everything. But this I am sure of -. -LRB- opens his eyes. -RRB- Do their duty the Jedi will. A muted BUZZER SOUNDS. A hologram of an AIDE, DAR WAC, appears on the Chancellor's desk. DAR WAC The loyalist committee has arrived, my Lord. PALPATINE Send them in. They all stand as SENATOR AMIDALA, CAPTAIN TYPHO, JAR JAR, MAS AMEDDA, DORME, and SENATORS BAIL ORGANA, HOROX RYYDER and ORN FREE TAA enter the office. YODA and MACE WINDU move to greet the SENATOR, YODA taps AMIDALA with his cane. YODA With you the force is strong. young Senator. To see you alive brings warm feeling to my heart. PADMÉ Thank you, Master Yoda. Do you have any idea who was behind the attack? MACE WINDU Our intelligence points to disgruntled spice miners, on the moons of Naboo. PADMÉ I do n't wish to disagree but I think that Count Dooku was behind it. There is a stir of surprise. MACE WINDU You know, M'Lady, Count Dooku was once a Jedi. He would n't assassinate anyone, it is not in his character. KI-ADI-MUNDI He is a political idealist, not a murderer. YODA In dark times nothing is what it appears to be, but the fact remains Senator, in grave danger you are. PALPATINE gets up, walks to the window, and looks out at the vast city. PALPATINE Count Dooku has always avoided any kind of conflict. It appears he has no desire to start a war. Why would he kill you? To what end? PADMÉ I do n't know, but everything in my being tells me he was behind it. After gazing out of the window for several moments Palpatine turns to Mace. PALPATINE Master Jedi, may I suggest that the Senator be placed under the protection of your graces. BAIL ORGANA Do you think that is a wise use of manpower during these stressful times? PADMÉ Chancellor, if I may comment, I do not believe the. PALPATINE `` situation is that serious.'' No, but I do, Senator. PADMÉ Chancellor, please! I do n't want any more guards! PALPATINE I realise all too well that additional security might be disruptive for you, but perhaps someone you are familiar with. an old friend like. Master Kenobi. PALPATINE nods to MACE WINDU, who nods back. MACE WINDU That's possible. He has just returned from a Border dispute on Ansion. PALPATINE You must remember him, M'Lady. he watched over you during the blockade conflict. PADMÉ This is not necessary, Chancellor. PALPATINE Do it for me, M'Lady, please. I will rest easier. We had a big scare today. The thought of losing you is unbearable. AMIDALA sighs as the JEDI get up to leave. MACE WINDU I will have Obi - Wan report to you immediately, M'Lady. YODA leans into her ear. YODA Too little about yourself you worry, Senator, and too much about politics. Be mindful of your danger, Padmé. Accept our help. As the JEDI leave the office, PALPATINE continues to pace behind his desk. PALPATINE I will not like this Republiv, that has stood for over a thousand years, be split in two", "EXT. SENATE APARTMENTS - TWILIGHT A graceful skyscraper twinkles in the evening light of Coruscant.", "INT. SENATE BUILDING, APARTMENT CORRIDOR - EVENING The door to the apartment slides open. JAR JAR walks into the corridor, where TWO JEDI are exiting the elevator. He recognises OBI - WAN and becomes extremely excited, jumping around, shaking his hand. JAR JAR Obi! Obi! Obi! Mesa sooo smilen to see'en yousa. Wahoooooo! OBI - WAN smiles. OBI-WAN It's Good to see you, too, Jar Jar. JAR JAR Oops! Wheresa mesa manners? Excuse me, Master Obi - Wan. I completely forgot myself for a moment there. I have had to learn Diplodiaclect. speak it like a native now. Do n't really see the point, actually, but members of the Senate seem to prefer it. JAR JAR notices OBI - WAN'S APPRENTICE. JAR JAR -LRB- continuing. -RRB-. and this, I take it, is your apprentice. Nooooooooo! Annie? Noooooooo! Little Bitty Annie? -LRB- Looks at Anakin. -RRB- Nooooooo! Yousa so biggen! Yiyiyiyyi! Annie! Mesa no believen. ANAKIN Hi, Jar Jar. JAR JAR grabs hold of ANAKIN and envelops him in a big hug. JAR JAR Annie! Annie! Yiyiyiyiyiyiiii!", "INT. SENATE BUILDING, APARTMENT - EVENING PADME is in a conference with CAPTAIN TYPHO and DORME. JAR JAR enters the room, followed by the TWO JEDI. JAR JAR Lookie. lookie. Oops! Oh, dear, I'm afraid I've forgotten myself again. PADME and TYPHO rise as OBI - WAN and ANAKIN stop before the SENATOR. OBI - WAN steps forward. ANAKIN stares at PADME. She glances at him. OBI-WAN It's a great pleasure to see you again, M'Lady. PADMÉ It has been far too long Master Kenobi. I'm so glad our paths have crossed again. but I must warn you that I think your presence here is unnecessary. OBI-WAN I'm sure the Jedi Council have their reasons. She moves in front of ANAKIN PADMÉ Annie? -LRB- stares. -RRB- My goodness you've grown. They look at each other for a long moment. ANAKIN -LRB- trying to be smooth. -RRB- So have you. grown more beautiful, I mean. and much shorter. for a Senator, I mean. OBI - WAN looks disapprovingly at his apprentice. PADME laughs and shakes her head. PADMÉ Oh Annie, you'll always be that little boy I knew on Tatooine. This embarrasses ANAKIN, and he looks down. OBI - WAN and CAPTAIN TYPHO smile. OBI-WAN Our presence will be invisible, M'Lady. CAPTAIN TYPHO I am very grateful you are here, Master Kenobi. The situation is more dangerous than the Senator will admit. PADMÉ I do n't need more security, I need answers. I want to know who is trying to kill me. OBI-WAN -LRB- frowning. -RRB- We're here to protect you Senator, not to start an investigation. ANAKIN We will find out who is trying to kill you Padmé, I promise you. He's done it again. He bites his lip in frustration and shame. OBI - WAN gives ANAKIN a dirty look. OBI-WAN We are not going to exceed our mandate, my young Padawan learner. ANAKIN I meant in the interest of protecting her, Master, of course. OBI-WAN We are not going through this exercise again, Anakin. You will pay attention to my lead. ANAKIN Why? OBI-WAN What?! ANAKIN Why else do you think we were assigned to her, if not to find the killer? Protection is a job for local security. not Jedi. It's overkill, Master. Investigation is implied in our mandate. OBI-WAN We will do as the Council has instructed, and you will learn your place, young one. PADMÉ Perhaps with merely your presence, the mysteries surrounding this threat will be revealed. Now if you will excuse me I will retire. Everyone gives AMIDALA a slight bow as she and DORME leave the room. CAPTAIN TYPHO Well, I know I feel a lot better having you here. I'll have an officer on every floor and I'll be at the command centre downstairs. JAR JAR Mesa busten wit happiness seein Yousa again, Annie. Deesa bad times, bombad times. Captain Typho leaves. ANAKIN She did n't even recognise me, Jar Jar. I thought about her every day since we parted. and she's forgotten me completely. JAR JAR Shesa happy. Happier den mesa see - en her in longo time. OBI-WAN Anakin, you're focusing on the Negative again. Be mindful of your thoughts. She was glad to see us. Now lets check the security here. ANAKIN Yes, my master.", "EXT. JEDI TEMPLE - EVENING The vast Jedi Temple sits on an endless flat plain, silhouetted by a against the traffic - filled sky.", "INT. JEDI TEMPLE, CORRIDOR - EVENING MACE WINDU and YODA walk down the long hallways, silhouetted by a lit room at the end. MACE WINDU Why could n't we see this attack on the Senator? YODA Masking the future, is this disturbance in the Force. MACE WINDU The propecy is coming true, the Dark Side is growing. YODA And only those who have turned to the Dark Side can sense the possibilities of the future. Only going through the Dark Side can we see. MACE WINDU It's been ten years, and the Sith still have no shown themselves. Do you think they are behind this? YODA Out there, they are. A certainty that is. MACE WINDU Do you think Obi - Wan's apprentice will be able to bring balance to the Force? YODA Only if he chooses to follow his destiny. There is a long silence as they walk away. Only footsteps are heard.", "INT. SENATE BUILDING, AMIDALA'S APARTMENT, BEDROOM - NIGHT PADME is asleep in her bed, lit only by the light of the city outside her window coming through the blinds. ARTOO stands in the corner of the bedroom. His power is off.", "INT. SENATE BUILDING, AMIDALA'S APARTMENT, MAIN R0OM - NIGHT ANAKIN is standing in the living room. He is in a meditative state. It is quiet. We hear DISTANT FOOTSTEPS in the corridor outside the apartment. Suddenly ANAKIN'S eyes pop open. His eyes dart around the room. He reaches for his lightsaber, then smiles and puts it back in his belt. The door to the apartment slides open, and OBI - WAN enters. OBI-WAN Captain Typho has more than enough men downstairs. No assassin will try that way. Any activity up here? ANAKIN Quiet as a tomb. I do n't like just waiting here for something to happen to her. OBI - WAN checks a palm - sized view scanner he has pulled out of his utility belt. It shows a shot of ARTOO by the door, but no sign of PADME on the bed. OBI-WAN What's going on? ANAKIN shrugs. ANAKIN She covered that camera. I do n't think she liked me watching her. OBI-WAN What is she thinking? ANAKIN She programmed Artoo to warn us if there's an intruder. OBI-WAN It's not an intruder I'm worried about. There are many other ways to kill a Senator. ANAKIN I know, but we also want to catch this assassin. Do n't we, Master? OBI-WAN You're using her as bait? ANAKIN It was her idea. No harm will come to her. I can sense everything going on in that room. Trust me. OBI-WAN It's too risky. and your senses are n't that attuned, young apprentice. ANAKIN And yours are? OBI-WAN Possibly.", "INT. SENATE BUILDING, AMIDALA'S APARTMENT, BEDROOM - NIGHT As PADME sleeps, a PROBE DROID approaches outside her window. It sends out several small arms that attach to the window, creating sparks that shut down the security system. Then a large arm cuts a small hole in the glass. A FAINT SOUND is heard as the small section of glass is removed from the window. ARTOO wakes up, and his lights go on. The PROBE DROID freezes. ARTOO looks around, makes a PLAINTIVE LITTLE SOUND, then shuts down again. The PROBE DROID attaches a little tube to the window. TWO DEADLY LOOKING CENTIPEDE - LIKE KOUHUNS exit the tube, crawl through the blinds and head toward the sleeping PADME.", "INT. SENATE BUILDING, AMIDALA'S APARTMENT, MAIN ROOM - NIGHT ANAKIN and OBI - WAN continue their conversation in the main room of the apartment. OBI-WAN You look tired. ANAKIN I do n't sleep well, anymore. OBI-WAN Because of your mother? ANAKIN I do n't know why I keep dreaming About her now. I have n't seen her since I was little. OBI-WAN Dreams pass in time. ANAKIN I'd rather dream of Padmé. Just Being around her again is. intoxicating. OBI-WAN Mind your thoughts, Anakin, they betray you. You've made a commitment to the Jedi order. a commitment not easily broken. and do n't forget she's a politician. They're not to be trusted. ANAKIN She's not like the others in the Senate, Master. OBI-WAN It's been my experience that Senators are only focused on pleasing those who fund their campaigns. and they are more than willing to forget the niceties of democracy to get those funds. ANAKIN Not another lecture, Master. Not on the economics of politics. It's too early in the morning. and besides, you're generalising. The Chancellor does n't appear to be corrupt. OBI-WAN Palpatine's a politician, I've observed that he is very clever at following the passions and prejudices of the Senators. ANAKIN I think he is a good man. My instincts are very positive about. ANAKIN looks stunned. He looks sharply at OBI - WAN OBI-WAN I sense it, too.", "INT. SENATE BUILDING, AMIDALA'S APARTMENT, BEDROOM - NIGHT ARTOO sounds an alarm and shines a light on the bed. THE KOUHUNS are inches from PADME'S face. Their mouths are open, and wicked stinger tongues flick out. OBI - WAN and ANAKIN burst into the room. The KOUHUNS stand on their hind legs and hiss as PADME wakes up. ANAKIN throws himself in front of her, whacking in half the deadly creatures with his lightsaber. OBI - WAN sees the DROID outside the window and raqces straight at it, crashing through the blinds as he goes through the window.", "EXT. WINDOW LEDGE, APARTMENT BUILDING - NIGHT OBI - WAN flies through the glass window and flings himself at the PROBE DROID, grabbing onto the deadly machine before it can flee. The PROBE DROID sinks under the weight of OBI - WAN but manages to stay afloat and fly away, with the Jedi hanging on for dear life, a hundred stories above the city.", "INT. SENATE BUILDING, AMIDALA'S APARTMENT - NIGHT ANAKIN and PADME stare at the sight of OBI - WAN being carried off by the DROID. ANAKIN turns to her. She pulls her nightdress around her shoulders. ANAKIN Stay here! CAPTAIN TYPHO, with TWO GUARDS and DORME, enter the room as Anakin dashes out.", "EXT. CITYSCAPE, CORUSCANT - NIGHT The PROBE DROID sends several protective electrical shocks across its surface, causing OBI - WAN to almost lose his grip. As they dart in and out of the speeder traffic, OBI - WAN disconnects a wire on the back of the DROID. Its power shuts off! OBI - WAN and the DROID drop like rocks. OBI - WAN realises the error of his ways and quickly puts the wire back. The DROID'S systems light up again and it takes off.", "EXT. SENATE APARTMENTS - ENTRANCE - NIGHT ANAKIN charges out of the building and runs to a line of parked speeders. He vaults into an open one and takes off, gunning it fast toward the lines of speeder traffic high above.", "EXT. CITYSCAPE, CORUSCANT - NIGHT The DROID bumps against a wall, hoping to knock the Jedi loose. It moves behind a speeder afterburner to scorch him. It takesthe JEDI wildly between buildings and finally skims across a rooftop as OBI - WAN is forced to lift his legs, tenaciously hanging onto the DROID. The DROID heads for a dirty, beat - up speeder hidden in an alcove of a building about twenty stories up. When the pilot of the speeder, a scruffy bounty hunter called ZAM WESELL, sees the DROID approach with OBI - WAN hanging on, she pulls a long rifle out of the speeder and starts to fire at the JEDI. EXPLOSIONS burst all around OBI - WAN. OBI-WAN I have a bad feeling about this. FINALLY, the DROID suffers a direct hit and blows up. OBI - WAN falls fifty stories, until a speeder drops down next to him, and he manages to grab onto the back end of the speeder and haul himself toward the cockpit. The JEDI struggles to climb into the passenger seat of the open speeder and sit down next to the driver, ANAKIN. ANAKIN That was wacky! I almost lost you in the traffic. OBI-WAN What took you so long? ANAKIN Oh, you know, Master, I could n't find a speeder I really liked, with an open cockpit. and with the right speed capabilities. and then you know I had to get a really gonzo color. They zoom upward in hot pursuit of ZAM asshe fires out the open window at them with her laser pistol. OBI-WAN If you'd spend as much time working on your saber skills as you do on your wit, young Padawan, you would rival Master Yoda as a swordsman. ANAKIN I thought I already did. OBI-WAN Only in your mind, my very young apprentice. Careful! Hey, easy! As this conversation is going on, ANAKIN deftly moves in and out of the oncoming traffic, across lanes, between buildings, and miraculously through a construction site. ZAM WESELL continues firing at them. ANAKIN Sorry, I forgot you do n't like flying, Master. OBI-WAN I do n't mind flying. but what you're doing is suicide! They barely miss a commuter train ANAKIN Master, you know I've been flying since before I could walk. I'm very good at this. OBI-WAN Just slow down! ZAM WESSEL and the JEDI race through a line of cross - traffic made up of giant trucks. The speeders bank sideways as they slide around right - angle turns between buildings. ZAM races into a tram tunnel. OBI-WAN -LRB- continuing. -RRB- Wait! Do n't go in there! ANAKIN zooms into the tunnel after ZAM. They see a tram coming at them. They brake, turn around, and race out, barely ahead of the charging commuter transport. OBI-WAN -LRB- continuing. -RRB- You know I do n't like it when you do that! ANAKIN Sorry, Master. Do n't worry, this guy's gon na kill himself any minute now! ZAM WESSEL turns into oncoming traffic, deliberately trying to throw the JEDI off. Oncoming speeders swerve, trying to avoid ZAM and the JEDI. ZAM does a quick, tight loop - over and ends up behind the JEDI. She is now in a much better position to fire at them with her laser pistol. To avoid being hit by the laser bolts, ANAKIN slams on the brakes and moves alongside ZAM. She now fires point - blank at OBI - WAN. OBI-WAN What are you doing? He's gon na blast me! ANAKIN Right - this is n't working. ANAKIN slides underneath Zam's speeder. They race along in traffic, one speeder right on top of the other. The BOUNTY HUNTER skims over the rooftops, causing ANAKIN to drop behind. ANAKIN goes through his gears, zooming around traffic. They race at high speed across a wide, flat surface of the city planet. A large spacecraft almost collides with them as it attempts to land. They round a corner and clip a flag, which gets caught on one of the front air scoops. OBI-WAN That was too close! ANAKIN Clear that! OBI-WAN What? ANAKIN Clear the flag! We're losing power! Hurry! OBI - WAN leans out of the speeder, then crawls out onto the front engine, pulling the flag free of the scoop. The speeder lurches forward with a surge of power. OBI-WAN Whooooaaa! Do n't do that! I do n't like it when you do that! ANAKIN So sorry, Master. They chase the BOUNTY HUNTER through a power refinery. OBI-WAN It's dangerous near those power couplings! Slow down! Do n't go through there! Huge electrical bolts shoot between the buildings as the speeders pass. OBI-WAN -LRB- continuing. -RRB- Yiiii, what are you doing? ANAKIN Sorry, Master! OBI-WAN -LRB- sarcastically. -RRB- Oh, that was good. ANAKIN That was crazy! ZAM slides around a corner sideways, blocking an alley, firing point - blank as ANAKIN approaches. ANAKIN -LRB- continuing. -RRB- Ahh, damn. OBI-WAN Stop! ANAKIN No, we can make it. ANAKIN barely misses the BOUNTY HUNTER'S speeder as he dives under it, and through a small gap in the building hitting several pipes and going wildly out of control. ANAKIN struggles to regain control of the speeder, narrowly missing a crane, barely clipping a pair of giant struts. A giant gasball shoots up, causing ANAKIN to spin and bump a building, stalling the speeder. OBI-WAN I'm crazy. I'm crazy. I'm crazy. ANAKIN But it worked. we made it. OBI-WAN -LRB- angrily. -RRB- It did n't work. we've stalled! And you almost got us killed! ANAKIN I think we're still alive. ANAKIN works to get the speeder started. It quickly races to life. OBI-WAN -LRB- very angrily. -RRB- It was stupid! ANAKIN -LRB- sheepishly. -RRB- I could have made it. OBI-WAN -LRB- furious. -RRB- But you did n't! And now we've lost him. Suddenly, there is an ambush. Laser bolts fire everywhere. EXPLOSIONS surround them. They look up to see ZAM WESSEL take off. ANAKIN No we did n't. Out of a cloud of smoke and ball of flames the JEDI tear after ZAM. They are smoking. OBI - WAN slaps out the small fire on the dashboard. ZAM goes up and down, through cross - traffic. There is a near miss as a speeder almost hits them. ZAM turns down and left between two buildings. ANAKIN pulls up and to the right OBI-WAN Where are you going?! He went down there, the other way. ANAKIN This is a shortcut. I think. OBI-WAN What do you mean, ` You think?' What kind of shortcut?! He went completely the other way! You've lost him! ANAKIN Master, if we keep this chase going, that creep's gon na end up deep fried. Personally, I'd very much like to find out who in the hell he is and who he's working for. OBI-WAN -LRB- sarcastic. -RRB- Oh, so that's why we're going in the wrong direction. ANAKIN turns up a side street, zooming up several small passageways, then stops, hovering about fifty stories up. OBI-WAN -LRB- continuing. -RRB- Well, you lost him. ANAKIN I'm deeply sorry, Master. ANAKIN looks around front and back. He spots something. He seems to start counting to himself as he watches something below approach. ANAKIN -LRB- continuing. -RRB- Excuse me for a moment. ANAKIN jumps out of the speeder. OBI - WAN looks down and sees Zam's speeder about five stories below them cruising past. ANAKIN miraculously lands on top of the Bounty Hunter's speeder. The speeder wobbles under the impact. ZAM looks up and realises what has happened. ZAM takes off, and ANAKIN slides to the back strut and almost slips off, but manages to hang on. ANAKIN works his way back to the speeder's cockpit, just as ZAM stops suddenly, and ANAKIN flies forward to the left front fork. ZAM shoots at him with a laser pistol. There is a BLAST near ANAKIN'S hand, which breaks off a piece of the speeder. ANAKIN slides to the right fork of the speeder, where ZAM ca n't reach him. He scrambles to the top, holding onto an air scoop. OBI - WAN has jumped into the driver's seat of his speeder and is deftly gaining on the rogue speeder. The two speeders dive through oncoming traffic and then through cross traffic. Finally, ANAKIN is able to get hold of his lightsaber and starts to cut his way through the roof of the speeder. ZAM takes out her laser pistol and starts firing at the helpless JEDI, knocking the sword out of his hand. OBI - WAN races under the speeder and catches the Jedi weapon in the passenger's seat. ANAKIN sticks his hand into the cockpit and, using the Force, pulls the gun out of ZAM'S hand. She grabs the Jedi's hand, and they struggle for the weapon. It goes off, blowing a hole in the floor of the speeder. The speeder careens wildly out of control. ZAM struggles to pull the speeder out of it's nose dive. OBI - WAN gets slowed down by traffic and loses sight of the Bounty Hunter's speeder. Just as the dragster is about to nose dive into the ground, ZAM pulls it out, and it slides hard on the pavement in a shower of sparks. ANAKIN goes flying into the street.", "EXT. ENTERTAINMENT STREET - NIGHT ZAM exits the crashed speeder and runs. ANAKIN picks himself up off the pavement and runs down the very crowded street. It's the seedy underbelly of the city. Broken sidewalks, garish lights reflected on the filthy puddles. It's pretty crowded with various ALIEN LOW - LIFES, PANHANDLING DROIDS, and the occasional group of UPPERCLASS SLUMMERS. ANAKIN barges into several of them as he chases after the fleeing ZAM. He loses the Bounty Hunter in the crowd, them sees him again. The young Jedi is having a very difficult time getting through the crowd. Ahead, ZAM turns in through a door and disappears. A nightclub sighs is flashing over the door. ANAKIN is just about to follow ZAM when there is a sudden swirl of litter from downthrusters. PEOPLE start moving out of the way, and the open speeder lands in the street beside him. OBI - WAN gets out and walks over, holding out ANAKIN'S lightsaber. OBI-WAN Anakin! ANAKIN She went into that club, Master. OBI-WAN Patience. OBI - WAN hands ANAKIN the lightsaber. OBI-WAN -LRB- continuing. -RRB- Here. Next time try not to lose it. ANAKIN Sorry, Master. ANAKIN reaches for the lightsaber, but OBI - WAN holds it back. OBI-WAN A Jedi's saber is his most precious possession. ANAKIN Yes, Master. He reaches for the lightsaber, OBI - WAN pulls it back. OBI-WAN He must keep it with him at all times. ANAKIN I know, Master. OBI-WAN This weapon is your life! ANAKIN I've heard this lesson before. OBI - WAN finally holds out the lightsaber and ANAKIN grabs it. OBI-WAN But, you have n't learned anything, Anakin. ANAKIN I try, Master.", "INT. NIGHTCLUB - NIGHT OBI - WAN and ANAKIN enter the nightclub bar, and everyone stares at them OBI-WAN Why do I think you are going to be the death of me?! ANAKIN Do n't say that Master. You're the closest thing I have to a father. I love you. I do n't want to cause you pain. OBI-WAN Then why do n't you listen to me?! ANAKIN I will. I'll do better, I promise. OBI-WAN Do you see him him? ANAKIN I think he's a she. OBI-WAN Then be extra careful. -LRB- nods to a room. -RRB- Check it out. OBI - WAN goes away. ANAKIN Where are you going, Master? OBI-WAN To get a drink. OBI - WAN heads for the bar. ANAKIN blinks in surprise, then moves into the room, where ALIEN FACES look back at him with hostility, suspicion, and invitation as he moves among the tables. OBI - WAN arrives at the bar. He signals the BARMAN. CLOSE - Somewhere in the room a HAND moves to a pistol in its holster and unsnaps the safety catch. At the bar, a glass is placed in from of OBI - WAN. A drink is poured. He lifts the glass. ELAN SLEAZEBAGGANO Wan na buy some death sticks? OBI - WAN looks at him. He moves his fingers slightly. OBI-WAN You do n't want to sell me death - sticks. ELAN I do n't want to sell you death - sticks. OBI - WAN moves his fingers. OBI-WAN You want to go home and rethink your life. ELAN I want to go home and rethink my life. He leaves. OBI - WAN lifts the drink and tosses it back. CLOSE. The gun is drawn from its holster and held down out of sight. The BOUNTY HUNTER starts to move toward the bar. ANAKIN checks out ALIEN FACES. OBI - WAN signals for another drink. The gun moves toward his unsuspecting back. The drink is poured. OBI - WAN reaches for it. The gun is raised to aim directly at his back, and suddenly OBI - WAN turns fast. His lightsaber flashes. There is a shrill SCREAM and ZAM'S ARM hits the floor. The gun drops from its twitching fingers. Blood spreads. The room is silent. ALIENS rise menacingly from their seats, and ANAKIN is suddenly at OBI - WAN's side, his lightsaber glowing. ANAKIN Easy. Official business. Go back to your drinks. Slowly, the ALIENS sit. Conversation resumes. Onstage, THE PERFORMERS pick up their routine. OBI - WAN and ANAKIN lift ZAM and carry her out.", "EXT. ALLEY OUTSIDE NIGHTCLUB - NIGHT OBI - WAN and ANAKIN carry ZAM into the alley and lower her to the ground. OBI - WAN attends to her wounded shoulder. She stares up hatefully at ANAKIN. She winces in pain, then nods. OBI-WAN Do you know who it was you were trying to kill? ZAM WESSEL The Senator from Naboo. OBI-WAN Who hired you? ZAM glares at OBI - WAN. ZAM WESSEL It was just a job. ANAKIN Tell us! ZAM WESSEL That Senator's gon na die soon anyway, and the next one wo n't make the same mistake I did. OBI-WAN This wound's going to need treatment. ANAKIN Who hired you? Tell us. tell us now! ZAM glares hatefully. ZAM It was a Bounty Hunter called. There is a sudden FTZZZ sound. ZAM twitches. She blinks in surprise and dies. There is a WEOOSH from above. OBI - WAN and ANAKIN look up yo see an ARMOURED ROCKET - MAN taking off from a roof high above. OBI - WAN looks down at ZAM. He touches her neck and pulls out a small, wicked - looking dart. OBI-WAN Toxic Dart.", "INT. SENATE BUILDING, AMIDALA'S APARTMENT - DAY ANAKIN and JAR JAR stand near the door of the anteroom to PADME'S bedroom. PADME and DORME move about packing luggage. PADMÉ Representative Binks. I know I can count on you. JAR JAR Yousa betchen mesa bottums. PADMÉ What?! JAR JAR -LRB- coughs, recovers. -RRB- Oh, pardone - ay, Senator. I mean, I am honoured to accept this heavy burden. I take on this responsibility with deep humility tinged with an overwhelming pride. -LRB- pompously. -RRB- It is not every day that I am called upon to. PADME kisses him on the cheek and gives him a hug. JAR JAR turns red. PADMÉ You're a good friend, Jar Jar. I do n't wish to hold you up. I'm sure you have a great deal to do. JAR JAR Of course, M'lady. JAR JAR bows and goes out. As he passes ANAKIN, he flashes a dazzling smile. PADME is in a very bad mood. PADMÉ I do not like this idea of hiding. ANAKIN Do n't worry. Now that the Council has ordered an investigation, it wo n't take Master Obi - Wan long to find that bounty hunter. PADMÉ -LRB- frustrated. -RRB- I have n't worked for a year to defeat the `` Military Creation Act'' not to be here when its fate is decided. ANAKIN Sometimes we have to let go of our pride and do what is requested of us. PADMÉ Pride?!? Annie, you're young, and you do n't have a very firm grip on politics. I suggest you reserve your opinions for some other time. ANAKIN Sorry, M'lady. I was only trying to. PADMÉ Annie! No! ANAKIN Please do n't call me that. PADMÉ What? ANAKIN Annie. PADMÉ I've always called you that. it is your name, is n't it? ANAKIN It's Anakin. When you say Annie it's like I'm still a little boy. and I'm not. PADMÉ I'm sorry, Anakin. It's impossible to deny you've. -LRB- looks him over. -RRB-. that you've grown up. PADME smiles at ANAKIN. He becomes a little shy. ANAKIN Master Obi - Wan manages not to see it. PADMÉ Mentors have a way of seeing more of our faults than we would like. It's the only way we grow. ANAKIN Do n't get me wrong. Obi - Wan is a great mentor. As wise as Master Yoda and as powerful as Master Windu. I am truly thankful to be his apprentice. Only. although I'm a Padawan learner, in some ways. a lot of ways. I'm ahead of him. I'm ready for the trials. I know I am! He knows it too. He believes I'm too unpredictable. Other Jedi my age have gone through the trials and made it. I know I started my training late. but he wo n't let me move on. PADMÉ That must be frustrating. ANAKIN It's worse. he's overly critical. He never listens! He just does n't understand! It's not fair! PADME can not surpress a laugh. She shakes her head. PADMÉ I'm sorry. You sounded exactly like that little boy I once knew, when he did n't get his way. ANAKIN I'm not whining! I'm not. PADME just smiles at him. DORME laughs in the background. PADMÉ I did n't say it to hurt you. ANAKIN I know. There is a brief silence. PADME comes over to ANAKIN. PADME Anakin. They look into each other's eyes for the first time. PADMÉ -LRB- continuing. -RRB- Do n't try to grow up too fast. ANAKIN I am grown up. You said it yourself. ANAKIN looks deep into PADME'S eyes. PADMÉ Please do n't look at me like that. ANAKIN Why not? PADMÉ Because I can see what you're thinking. ANAKIN -LRB- laughing. -RRB- Ahh. so, you have Jedi powers too? DORME is watching with concern. PADMÉ It makes me feel uncomfortable. ANAKIN Sorry, M'lady. ANAKIN backs away as PADME turns and goes back to her packing.", "EXT. CORUSCANT, SPACEPORT FREIGHTER DOCKS, TRANSPORT BUS - DAY A small bus speeds toward the massive freighter docks of Coruscant's Industrial area. The spaceport is bustling with activity. Transports of various sizes moves supplies and passengers as giant floating cranes lift cargo out of starships. The bus stops before a huge intergalactic freighter starship. It parks in the shadows of an overhang.", "INT. CORUSCANT, SPACEPORT FREIGHTER DOCKS, TRANSPORT BUS - DAY ANAKIN and PADME, dressed in Outland peasant outfits, get up and head for the door where CAPTAIN TYPHO, DORME and OBI - WAN are waiting to hand them their luggage. DORME is dressed to look like Senator Amidala. CAPTAIN TYPHO Be safe, m ` lady. PADMÉ Thank you, Captain. Take good care of Dorme. the threat's on you two now. DORME He'll be safe with me. They laugh, and PADME embraces her faithful handmaiden. DORME start to weep. PADMÉ You'll be fine. DORME It's not me, M'Lady. I worry about you. What if they realise I'm not you? PADMÉ -LRB- looks to Anakin. -RRB- Then my Jedi protector will have to prove how grown up he is. DORME and PADME smile. ANAKIN frowns as OBI - WAN pulls him aside. OBI-WAN Anakin, you stay put on Naboo. Do not attract any attention. Do absolutely nothing without checking in with me or the Council. ANAKIN Yes, Master. OBI-WAN -LRB- to Padme. -RRB- I will get to the bottom of this plot quickly, M'Lady. You'll be back here in no time. PADMÉ I will be most grateful for your speed, Master Jedi. ANAKIN Time to go. PADMÉ I know. PADME gives DORME a last hug. ANAKIN picks up the luggage, and the TWO PEASANTS exit the speeder bus, where ARTOO is waiting for them. OBI-WAN May the Force be with you. ANAKIN May the Force be with you, Master. They head off toward the giant Starfreighter. PADMÉ Suddenly, I'm afraid. ANAKIN I'm kinda scared too. This is my first assignment on my own. PADMÉ There's nothing to worry about. we have Artoo with us. The two laugh. OBI - WAN and CAPTAIN TYPHO watch ANAKIN and PADME disappear into the vastness of the spaceport with ARTOO trundling along behind them. OBI-WAN I hope he does n't try anything foolish. CAPTAIN TYPHO I'd be more concerned about her doing something, than him.", "EXT. FREIGHTER DOCKS - CORUSCANT - DAY The freighter slowly takes off from the huge docks area of Coruscant. It soon moves into the crowded skies.", "INT. JEDI TEMPLE, MAIN HALLWAY - LATE DAY From high above, light streams down from the lofty ceilings. OBI - WAN crosses the floor of the great hallway, heaading for the Analysis Rooms.", "INT. JEDI TEMPLE, ANALYSIS CUBICLES - LATE DAY OBI - WAN walks past several glass cubicles where work is going on. He comes to an empty one and sits down in front of a console. A PK - 4 ANALYSIS DROID comes to life. A tray slides out of the console. PK-4 Place the subject for analysis on the sensot tray, please. OBI - WAN puts the dart onto the traym which retracts into the console. The DROID activates the system, and a screen lights up in from of OBI - WAN. OBI-WAN It's a toxic dart. I need to know where it came from and who made it. PK-4 One moment, please. Diagrams and. appear on the screem, scrolling past at great speed. OBI - WAN watches as the screen goes blank. They tray slides out. PK-4 -LRB- continuing. -RRB- As you can see on your screen, subject weapon does not exist in any known culture. Markings can not be identified. Probablt self - made by a warrior not associated with any known society. OBI-WAN Excuse me? Could you try again please? PK-4 Master Jedi, our records are very thorough. they cover eight percent of the galaxy. If I ca n't tell you where it came from, nobody can. OBI - WAN picks up the dart and looks at it, then looks to the DROID. OBI-WAN Thanks for your assistance! You may not be able to figure this out, but I think I know someone who might.", "EXT. SPACE, STARSHIP FREIGHTER The massive, slow - moving Freighter suddenly zooms away into lightspeed.", "INT. STARFREIGHTER, STORAGE HOLD - DAY The great, gloomy hold is crowded with EMIGRANTS and their belongings. To one side ARTOO is coming to the head of a food line, where SERVERS are ladling out bowls of mush. ARTOO holds two bowls. SERVER Keep moving! Keep moving! ARTOO slips tube into a tub of mush and sucks up a large quantity. With one of his little claw - arms, he grabs several chunks of something that looks like brown bread. A SERVER sees him. FOOD SERVER -LRB- continuing. -RRB- Hey! No Droids! ARTOO takes one last big suck and heads away from the food line. The SERVER shouts after him angrily. The little droid moves past groups of eating or sleeping EMIGRANTS and comes to where ANAKIN is sound asleep. The young Jedi seems to be having a nightmare. He is very restless. ANAKIN No, no, Mom, no. He is sweating. PADME leans over to wipe some of the sweat from his forehead. He wakes up with a start, then realises where he is. PADME simply looks at him. He stares back, somewhat confused. ARTOO fills up two bowls with mush. ANAKIN -LRB- continuing. -RRB- What? PADMÉ You seemed to be having a nightmare. ANAKIN looks at PADME a little more closely, trying to see if he has revealed any of his secrets. She hands him a bowl of mush and bread. PADMÉ -LRB- continuing. -RRB- Are you hungry? ANAKIN Thank you. PADMÉ We went into lightspeed a while ago. ANAKIN looks into PADME'S eyes. ANAKIN I look forward to seeing Naboo again. I've thought about it every day since I left. It's by far the most beautiful place I've ever seen. PADME is a little unnerved by his intense stare. PADMÉ You were just a little boy then. It may not be as you remember it ; time changes your perception. ANAKIN I think time has given me much more mature feelings to enhance my perception. PADMÉ It must be difficult having sworn your life to the Jedi. not being able to visit the places you like. or do the things you like. ANAKIN Or be with the people I love. PADMÉ Are you allowed to love? I thought that was forbidden for a Jedi. ANAKIN Attachment is forbidden. Possession is forbidden. Compassion, which I would define as unconditional love, is central to a Jedi's life, so you might say we're encouraged to love. PADMÉ You have changed so much ANAKIN You have n't changed a bit. You're exactly the way I remember you in my dreams. I doubt if Naboo has changed much either. PADMÉ It has n't. ANAKIN I ca n't wait to breathe the sweet breeze that comes off the rolling hills. Whenever I try to visualise the Force, those hills are what I see. ANAKIN looks at PADME when he says this. ANAKIN -LRB- continuing. -RRB- I love Naboo. There is an awkward moment. PADMÉ -LRB- changing the subject. -RRB- Were you dreaming about you mother earlier, were n't you? ANAKIN Yes. I left Tatooine so long ago, my memory of her is fading. I do n't want to lose it. Recently I've been seeing her in my dreams. vivid dreams. scary dreams. I worry about her. PADME gives ANAKIN a sympathetic look.", "EXT. CORUSCANT, DOWNTOWN, BACK STREET - MORNING OBI - WAN walks down the street. It is a pretty tough part of town. Old buildings, warehouses, beat up speeders and transporter rigs occasional `` shiny freighters'' hissing through. OBI - WAN comes to a kind of alien diner. On the steamed - up windowa it says `` DEX'S DINER'' in alien lettering. He goes inside.", "INT. CORUSCANT, DEX'S DINER - MORNING A young waitress, HERMIONE BAGWA, is wiping off a booth tabletop. There is a counter with stools and a line of booths along the wall by the window. A number of CUSTOMERS are eating - TOUGH - LOOKING WORKERS, FREIGHTER DRIVERS etc.. HERMIONE looks up as OBI - WAN comes in. HERMIONE Can I help ya? OBI-WAN I'm looking for Dexter. HERMIONE'S eyes narrow. HERMIONE BAGWA Waddya want him for? OBI-WAN He's not in trouble. It's personal. HERMIONE stares at OBI - WAN. There is a brief pause. Then she goes to the open serving hatch behind the counter. HERMIONE BAGWA Someone to see ya, honey. -LRB- lowering her voice. -RRB- A Jedi, by the looks of him. Steam billows out from the kitchen hatch behind the counter as a huge head pokes through. DEXTER JETTSTER Obi - Wan! OBI-WAN Hey, Dex. DEXTER JETTSTER Take a seat! Be right with ya! OBI - WAN sits in a booth. HERMIONE BAGWA You want a cup of ardees? OBI-WAN Thank you. HERMIONE moves off as the door to the counter opens and DEXTER JETTSTER appears. He is big - bald and sweaty, old and alien. Not someone to tangle with. He arrives, beaming hugely. DEXTER JETTSTER Hey, ol' buddy! OBI-WAN Hey, Dex. DEXTER eases himself into the seat opposite OBI - WAN. He can just make it. HERMIONE sets two mugs of steaming ardees in from of them. DEXTER JETTSTER So, my friend. What can I do for ya? OBI-WAN You can tell me what this is. OBI - WAN places the dart on the table between them. DEX'S eyes widen. He puts down his mug. DEXTER JETTSTER Well, whattaya know. DEXTER picks up the dart delicately between his puffy fingers and peers at it. DEXTER JETTSTER -LRB- continuing. -RRB- I ai n't seen one of these since I was prospecting on Subterrel beyond the Outer Rim! OBI-WAN Do you know where it came from? DEXTER grins. He puts the dart down between them. DEXTER JETTSTER This baby belongs to them cloners. What you got here is a Kamino Kyberdart. OBI-WAN Kamino Kyberdart. I wonder why it did n't show up in any analysis archive. DEXTER JETTSTER It's these funny little cuts on the side give it away. Those analysis droids you've got over there only focus on symbols, you know. I should think you Jedi would have more respect for the difference between knowledge and wisdom. OBI-WAN Well, Dex, if droids could think, we would n't be here, would we? -LRB- laughing. -RRB- Kamino. does n't sound familiar. Is it part of the Republic? DEXTER JETTSTER No, it's beyond the Outer Rim. I'd say about twelve parsecs outside the Rishi Maze, toward the south. It should be easy to find, even for those droids in your archive to find. Those Kaminoans keep to themselves. They're cloners. Damned good ones, too. OBI - WAN then picks up the dart, holding it midway between them. OBI-WAN Cloners? Are they friendly? DEXTER JETTSTER It depends. OBI-WAN On what, Dex? Dexter grins. DEXTER JETTSTER On how good your manners are. and how big your pocketbook is.", "EXT. NABOO SPACEPORT - DAY The Starfreighter lands in the giant port city of Theed. PADME, ANAKIN and ARTOO are among the EMIGRANTS streaming from the Starfreighter and into the vast docking area. They exit onto the main plaza.", "EXT. NABOO PALACE, GRAND COURTYARD (NABOO) - AFTERNOON The speeder bus pulls up and stops. PADME, ANAKIN, and ARTOO get out. The great courtyard stretches out before them, and they see the rose - colored dome of the palace on the far side. ARTOO WHISTLES. They pick up their gear and start to cross the courtyard. ARTOO trundles behind them. ANAKIN If I grew up here, I do n't think I'd ever leave. PADMÉ -LRB- laughing. -RRB- I doubt that. ANAKIN No, really. When I started my training, I was very homesick and very lonely. This city and my Mom were the only pleasant things I had to think about. The problem was, the more I thought about my Mom, the worse I felt. But I would feel better if I thought about the palace - the way it shimmers in the sunlight - the way the air always smells of flowers. PADMÉ and the soft sound of the distant waterfalls. The first time I saw the Capital, I was very young. I'd never seen a waterfall before. I though they were so beautiful. I never dreamed one day I'd live in the palace. ANAKIN Well, tell me, did you dream of power and politics when you were a little girl? PADMÉ -LRB- laughing. -RRB- No! That was the last thing I thought of. My dream was to help in the `` Refugee Relief Movement.'' I never thought of running for elected office. But the more history I studied, the more I realised how much good politicians could do. So when I was eight, I joined the `` Apprentice Legislators'', then later on became a Senatorial advisor, with such a passion that, before I knew it, I was elected Queen. Partly because I scored so high on my education certificate, but for the most part it was my conviction that reform was possible. I was n't the youngest Queen ever elected, but now that I think back on it, I'm not sure I was old enough. I'm not sure I was ready. ANAKIN The people you served thought you did a good job. I heard they tried to amend the Constitution so you could stay in office. PADMÉ Popular rule is not democracy, Annie. It gives the people what they want, not what they need. And, truthfully, I was relieved when my two terms were up. So were my parents. They worried About me during the blockade and could n't wait for it all to be over. Actually, I was hoping to have a family by now. My sisters have the most amazing, wonderful kids. but when the Queen asked me to serve as Senator, I could n't refuse her. ANAKIN I agree! I think the Republic needs you. I'm glad you chose to serve. I feel things are going to happen in our generation that will change the galaxy in profound ways. PADMÉ I think so too. ANAKIN and PADME walk toward the palace. ARTOO continues to follow.", "INT. NABOO PALACE, THRONE ROOM - AFTERNOON QUEN JAMILLIA is seated on the throne, flanked by SIO BIBBLE and a COUPLE OF ADVISORS. FOUR HANDMAIDENS stand close by, and GUARDS are at the doors. QUEEN JAMILLIA We've been worried about you. -LRB- takes her hand. -RRB- I'm so glad you're safe, Padmé. PADMÉ Thank you, Your Highness. I only Wish I could have served you better by staying on Coruscant for the vote. SIO BIBBLE Given the circumstances, Senator, you know it was the only decision Her Highness could have made. QUEEN JAMILLIA How many systems have joined Count Dooku and the separatists? PADMÉ About two hundred. And more are leaving the Republic every day. If the Senate votes to create an army, I'm sure it's going to push us into a civil war. SIO BIBBLE It's unthinkable! There has n't been a full - scale war since the formation of the Republic! QUEEN JAMILLIA Do you see any way, through negotiations, to bring the separatists back into the Republic? PADMÉ Not if they feel threatened. The separatists do n't have an army, but if they are provoked, they will move to defend themselves. I'm sure of that. And with no time or money to build an army, my guess is they will turn to the Commerce Guilds or the Trade Federation for help. QUEEN JAMILLIA The armies of commerce! Why has Nothing been done in the Senate to restrain them? PADMÉ I'm afraid that, despite the Chancellor's best efforts, there are still many bureaucrats, judges, and even Senators on the payrolls of the Guilds. SIO BIBBLE It's outrageous! After all of those hearings, and the four trials in the Supreme Court, Nute Gunray is still the Viceroy of the Trade Federation. Do those money mongers control everything? QUEEN JAMILLIA Remember, Counsellor, the courts were able to reduce the Federation's armies. That's a move in the right direction. PADMÉ There are rumours, Your Highness, that the Federation Army was not reduced as they were ordered. ANAKIN The Jedi have not been allowed to investigate. It would be to be too dangerous for the economy, we were told. QUEEN JAMILLIA We must keep our faith in the Republic. The day we stop believing democracy can work is the day we lose it. PADMÉ Let's pray that day never comes. QUEEN JAMILLIA In the meantime, we must consider your own safety. SIO BIBBLE signals. All the other ADVISORS and ATTENDANTS bow and leave the room. SIO BIBBLE -LRB- to Anakin. -RRB- What is your suggestion, Master Jedi? PADMÉ Anakin's not a Jedi yet, Counsellor. He's still a Padawan learner. I was thinking. ANAKIN -LRB- nettled. -RRB- Hey, hold on a minute! PADMÉ Excuse me! I was thinking I would stay in the Lake Country. There are some places up there that are very isolated. ANAKIN Excuse me?! I am in charge of security here, M'Lady. SIO BIBBLE and QUEEN JAMILLIA exchange a look. Something is going on here. PADMÉ Annie, my life is at risk, and this is my home. I know it very well. that is why we're here. I think it would be wise for you to take advantage of my knowledge in this instance. ANAKIN -LRB- takes a deep breath. -RRB- Sorry, M'Lady. SIO BIBBLE -LRB- to Anakin, amused. -RRB- She is right. The Lake Country is the most remote part of Naboo. Not many people and a clear view of the surrounding terrain. QUEEN JAMILLIA Perfect. It's settled then. ANAKIN glares at PADME. Then QUEEN JAMILLIA gets up, and they all start to leave. QUEEN JAMILLIA -LRB- continued. -RRB- Padmé, I had an audience with your father yesterday. I told him what was happening. He hopes you will visit your mother before you leave. your family's very worried about you. PADME looks worred. They ALL exit down the main staircase.", "EXT. JEDI TEMPLE - DAY The main entrance at the base of the huge temple is bustling with activity. All sorts of JEDI are coming and going.", "INT. JEDI TEMPLE, ARCHIVES LIBRARY - DAY A bronze bust of Count Dooku, stands among a line of other busts of Jedi in the Archive Room. OBI - WAN stands in front it, studying the striking features of the chiselled face. On the walls, lighted computer panels seem to stretch into infinity. Farther along the room in the background, FIVE JEDI are seated at tables, studying archival material. After OBI - WAN studies the bust for a few moments before MADAME JOCASTA NU, the Jedi Archivist is standing next to him. She is an elderly, frail - looking human Jedi. Tough as old boots and smart as a whip. JOCASTA NU Did you call for assistance? OBI-WAN -LRB- distracted in thought. -RRB- Yes. yes, I did. JOCASTA NU He has a powerful face, does n't he? He was one of the most brilliant Jedi I have had the privilege of knowing. OBI-WAN I never understood why he quit. Only twenty Jedi have ever left the Order. JOCASTA NU -LRB- sighs. -RRB- The Lost Twenty. and Count Dooku was the most recent and the most painful. No one likes to talk about it. His leaving was a great loss to the Order. OBI-WAN What happened? JOCASTA NU Well, one might say, he was always a bit out of step with the decisions of the Council. much like your old Master, Qui - Gon Jinn. OBI-WAN -LRB- surprised. -RRB- Really? JOCASTA NU Oh, yes. They were alike in many ways. Very individual thinkers. idealists. JOCASTA NU stares at the bust JOCASTA NU -LRB- continuing He was always striving to become a more powerful Jedi. He wanted to be the best. With a lightsaber, in the old style of fencing, he had no match. His knowledge of the Force was. unique. In the end, I think he left because he lost faith in the Republic. He believed that politics were corrupt, and he felt the Jedi betrayed themselves by serving the politicians. He always had very high expectations of government. He disappeared for nine or ten years, then he just showed up recently as the head of the separatist movement. OBI-WAN Interesting. I'm still not sure I understand. JOCASTA NU Well, I'm sure you did n't call me over here for a history lesson. Are you having a problem, Master Kenobi? OBI-WAN Yes, I'm trying to find a planet system called Kamino. It does n't seem to show upon any of the archive charts. JOCASTA NU Kamino? It's not a system I'M familiar with. Let me see. JOCASTA NU leans over OBI - WAN'S shoulder, looking at the screen. JOCASTA NU -LRB- continuing. -RRB- Are you sure you have the right co - ordinates? OBI-WAN -LRB- nodding. -RRB- According to my information, it should be in this quadrant somewhere. just south of the Rishi Maze. JOCASTA NU taps the keyboard and frowns. JOCASTA NU No co - ordinates? It sounds like the kind of directions you'd get from a street tout. some old miner or Furbog trader. OBI-WAN All three actually. JOCASTA NU Are you sure it exists? OBI-WAN Absolutely. JOCASTA NU Let me do a gravitational scan. OBI - WAN and JOCASTA NU studt the star map hologram. JOCASTA NU There are some inconsistencies here. Maybe the planet you're looking for was destroyed. OBI-WAN Would n't that be on record? JOCASTA NU It ought to be. Unless it was very recent. -LRB- shakes her head. -RRB- I hate to say it, but it looks like the system you're searching for does n't exist. OBI-WAN That's impossible. perhaps the archives are incomplete. JOCASTA NU The archives are comprehensive and totally secure, my young Jedi. One thing you may be absolutely sure of - if an item does not appear in our records, it does not exist! OBI - WAN stares at her, then looks back at the map.", "EXT. THEED, RESIDENTIAL AREA, SIDE STREET - AFTERNOON PEOPLE are passing through the little street, OLD MEN are sunning themslves, WOMEN are gossipping, KIDS are playing. ANAKIN, PADME and ARTOO turn onto a side street. ANAKIN is back in his Jedi robes. PADME wear a beautiful simple dress. She stops, beaming. PADME There's my house! PADME starts forward ; ANAKIN hangs back. PADME -LRB- continuing. -RRB- What? Do n't say you're shy! ANAKIN -LRB- untruthfully. -RRB- No, but I. Suddenly, there are shouts from two little girils, RYOO -LRB- age 6 -RRB- and POOJA -LRB- age 4 -RRB-. They come running toward PADME. RYOO & POOJA Aunt Padme! Aunt Padme! PADME Ryoo! Pooja! PADME scoops up RYOO and POOJA and hugs them. PADME -LRB- continuing. -RRB- I'm so happy to see you! This is Anakin. Anakin, this is Ryoo, and this is Pooja. ANAKIN and the GIRLS say hello shyly. Then : RYOO & POOJA Artoo! As they see the droid, they hug him. ARTOO WHISTLES and BEEPS. PADME laughs. ANAKIN and PADME go on toward the house. The GIRLS stay and play with ARTOO.", "INT. PADME'S PARENTS' HOUSE, MAIN ROOM - AFTERNOON SOLA, PADME'S beautiful older sister, comes in from the kitchen carrying a big bowl of food. SOLA -LRB- over her shoulder. -RRB- They're eating over at Jev Narran's later, Mom. They just had a snack. They'll be fine. SOLA puts the bowl down on the table, where ANAKIN, PADME and RUWEE NABERRIE -LRB- Padme's father -RRB- are coming into the room. PADME Anakin, this is my sister, Sola. SOLA Hello, Anakin. ANAKIN Hello. SOLA sits, as JOBAL NABERRIE -LRB- Padme's mother -RRB- comes in with a heaped bowl of steaming food. JOBAL You're just in time for dinner. I hope you're hungry, Anakin. ANAKIN A little. PADME He's being polite, Mom. We're starving. RUWEE -LRB- grinning. -RRB- You came to the right place at the right time. Sit down, son. EVERYONE sits and starts passing food. JOBAL -LRB- to Padme. -RRB- Honey, it's so good to see you safe. We were so worried. PADME gives JOBAL a dirty look. RUWEE smiles as he watches. RUWEE Dear. JOBAL I know, I know. but I had to say it. Now it's done. SOLA Well, this is exciting! Do you know, Anakin, you're the first boyfriend my sister's ever brought home? PADME -LRB- rolls her eyes. -RRB- Sola! He is n't my boyfriend! He's a Jedi assigned by the Senate to protect me. JOVAL A bodyguard?! Oh, Padme! They did n't tell us it was that serious! PADME It's not, Mom, I promise. -LRB- glances at Jobal. -RRB- Anyway, Anakin's a friend. I've known him for years. Remember that little boy who was with the Jedi during the blockade crisis? They nod. PADME -LRB- continuing. -RRB- He grew up. JOBAL Honey, when are you going to settle down? Have n't you had enough of that life? I certainly have! PADME Mom, I'm not in any danger. RUWEE -LRB- to Anakin. -RRB- Is she? ANAKIN Yes. I'm afraid she is. PADME -LRB- quickly. -RRB- But not much.", "EXT. PADME'S PARENTS' GARDEN - AFTERNOON ANAKIN and RUWEE are walking. RUWEE Sometimes I wish I'd traveled more. but I must say, I'm happy here. ANAKIN Padme tells me you teach at the university? RUWEE -LRB- nodding. -RRB- Yes, and before that, I was a builder. I also worked for the Refugee Relief Movement, when I was very young.", "INT. PADME'S PARENTS' HOUSE, MAIN ROOM - AFTERNOON PADME, SOLA and JOBAL are clearing the table. SOLA Why have n't you told us about him? PADMÉ What's there to talk about? He's just a boy. SOLA A boy? Have you seen the way he looks at you? PADMÉ Sola - stop it! SOLA It's obvious he has feelings for you. Are you saying, little baby sister, that you have n't noticed? PADMÉ I'm not your baby sister, Sola. Anakin and I are friends. our relationship is strictly professional. -LRB- to Jobal. -RRB- Mom, would you tell her to stop it? SOLA -LRB- laughing. -RRB- Well, maybe you have n't noticed the way he looks at you. I think you're afraid to. PADMÉ Cut it out. JOBAL Sola's just concerned. we all are. PADMÉ Oh, Mom, you're impossible. What I'm doing is important. JOBAL You've done your service, Padmé. It's time you had a life of your own. You're missing so much!", "EXT. PADME'S PARENTS' GARDEN - AFTERNOON ANAKIN and RUWEE are walking in the garden. RUWEE stops and faces ANAKIN directly. RUWEE Now tell me, son. How serious is this thing? How much danger is my daughter really in? ANAKIN There have been two attempts on her life. Chances are there'll be more. My Master is tracking down the assassins. I'm sure he'll find out who they are. This situation, wo n't last long. RUWEE I do n't want anything to happen to her. ANAKIN I do n't either.", "INT. PADME'S PARENTS' HOUSE, PADME'S ROOM - AFTERNOON PADME throws some things into a bag. PADME Do n't worry, this wo n't take long. ANAKIN I just want to get there before dark. PADME goes on packing. ANAKIN looks around the room. ANAKIN -LRB- continuing. -RRB- You still live at home. PADME I move around so much, I've never had a place of my own. Official residences have no warmth. I feel good here. I feel at home. ANAKIN I never had a real home. Home was always where my Mom was. ANAKIN picks up a framed hologram. ANAKIN -LRB- continuing. -RRB- Is this you? The hologram shows Padme at age seven or eight surrounded by forty or fifty little green creatures. She is holding one in her arms. They are all smiling hugely. PADME That was when I went with the Relief Group to Shadda - Bi - Boran. Their sun was imploding, and the planet was dying. I was helping to relocate the children. See that little one I'm holding? His name was N' a - kee - tula, which means sweethear. He was so full of life,. All those kids were. I did everything I could to save him, but he died. they all did. They were never able to adapt. to live off their native planet. ANAKIN picks up another hologram. It shows PADME at age ten or eleven. She is wearing official robes and standing between two robed legislators. Her expression is severe. PADME -LRB- continuing. -RRB- My first day as an Apprentice Legislator. Notice the difference? PADME pulls a face. ANAKIN grins. She continues packing. ANAKIN sets the two holograms down side by side - the beaming little girl, and the the stern, unsmiling adolescent.", "INT. JEDI TEMPLE, MAIN HALLWAY - DAY OBI - WAN walks through the main hallway to the training area.", "INT. JEDI TEMPLE, TRAINING VERANDA - DAY OBI - WAN comes out onto the veranda and stops, watching TWENTY or so FOUR - YEAR - OLDS doing training exercises, supervised by YODA. They wear helmets over their eyes and try to strike little TRAINING DROIDS with their miniature lightsabers. The DROIDS dance in front of them. YODA Do n't think. feel. be as one with the Force. Help you, it will. -LRB- he sees Obi - Wan. -RRB- Younglings - enough! A visitor we have. Welcome him. The CHILDREN take off their helmets and turn off their lightsabers. YODA -LRB- continuing. -RRB- Master Obi - Wan Kenobi, meet the mighty Bear Clan. CHILDREN Welcome, Master Obi - Wan! OBI-WAN I am sorry to disturb you, Master. YODA What help to you, can I be? OBI-WAN I'm looking for a planet described to me by an old friend. I trust him. But the system does n't show up on the archive maps. YODA An interesting puzzle. Gather round the map reader, younglings. Master Obi - Wan has lost a planet. Find it, we will try. The map reader is a small shaft with a hollow opening at the top. The CCHILDREN gather around it. OBI - WAN takes out a little glass ball and places it into the bowl. The window shades close darkening the room and the reader lights up, projecting the star map hologram into the room. The CHILDREN laugh. Some of them reach up to try and touch the nebulae and stars. OBI - WAN walks into the display. OBI-WAN This is where it ought to be. but it is n't. Gravity is pulling all the stars in this area inward to this spot. There should be a star here. but there is n't. YODA Most interesting. Gravity's silhouette remains, but the star and all its planets have disappeared. How can this be? There is a brief pause. Then a CHILD puts its hand up. YODA nods. JEDI CHILD JACK Because someone erased it from the archive memory. CHILDREN That's right! Yes! That's what happened! Someone erased it! JEDI CHILD MAY If the planet blew up, the gravity would go away. OBI - WAN stares ; YODA chuckles. YODA Truly wonderful, the mind of a child is. Uncluttered. To the centre of the pull of gravity go, and find your planet you will. OBI-WAN But Master Yoda who could have erased information from the archives? That's impossible, is n't it? YODA -LRB- frowning. -RRB- Much harder to answer, that question is.", "EXT. NABOO LAKE RETREAT, WATER SPEEDER, LANDING PLATFORM - LATE AFTERNOON A water speeder driven by PADDY ACCU, the retreat caretaker, skims across the lake away from the island landing platform where a chrome Naboo Starship rests. ANAKIN and PADME are sitting in the speeder as it skims away to where a lodge rises on a beautiful island in the middle of the lake.", "EXT. NABOO LAKE RETREAT, LODGE, GARDEN TERRACEM LATE AFTERNOON ANAKIN and PADME walk up the stairs from where the water speeder is parked onto a terrace overlooking a lovely garden. Behind them, PADDY ACCU supervises two serving girls, NANDI and TECKLA, as they carry the bags into the Lodge. ANAKIN and PADME stop at the balustrade. PADME looks out across the garden to the shimmering lake and the mountains rising beyond. ANAKIN looks at her silently. PADMÉ When I was in Level Three, we used to come here for school retreat. See that island? We used to swim there every day. I love the water. ANAKIN I do too. I guess it comes from growing up on a desert planet. PADME becomes aware that ANAKIN is looking at her. PADMÉ We used to lie on the sand and let the sun dry us. and try to guess the names of the birds singing. ANAKIN I do n't like sand. It's coarse and rough and irritating, and it gets everywhere. Not like here. Here everything's soft. and smooth. He touches her arm. PADME has become receptive to the way he looks at her but is nervous. PADMÉ There was a very old man who lived on the island. He used to make glass out of sand - and vases and necklaces out of the glass. They were magical. ANAKIN -LRB- looks into her eyes. -RRB- Everything here is magical. PADMÉ You could look into the glass and see the water. The way it ripples and moves. It looked so real. but it was n't. ANAKIN Sometimes, when you believe something to be real, it becomes real. Real enough, anyway. They look into each other's eyes. He touches her chin. PADMÉ I used to think if you looked too deeply into glass, you would lose yourself. ANAKIN I think it's true. ANAKIN kisses PADME. She does n't resist. She comes to her senses and pulls away. PADMÉ I should n't have done that. ANAKIN I'm sorry. When I'm around you, my mind is no longer my own. PADMÉ It's the situation. the stress. He looks at her. ANAKIN the view.", "EXT. CORUSCANT, LANDING PLATFORM - LATE AFTERNOON Obi - Wan's Starfighter is ready for takeoff. OBI - WAN and MACE WINDU stand beside it. MACE WINDU Be wary, this disturbance in the Force is growing stronger. OBI-WAN I am concerned for my Padawan. He is not ready to be on his own. YODA The Council is confident in this decision, Obi - Wan. MACE He has exceptional skills. The Council is confident in its decision, Obi - Wan. If the prophecy is true, he weill be the one to bring balance to the Force. OBI-WAN But he still has much to learn. And his abilities have made him. well. arrogant. I realise now what you and Master Yoda knew from the beginning. the boy was too old to start the training and. OBI - WAN hesitates. MACE WINDU There's something else? OBI-WAN Master, he should not have been given this assignment. I'm afraid Anakin wo n't be able to protect the Senator. MACE WINDU Why? OBI-WAN He has a. an emotional connection with her. It's been there since he was boy. Now he's confused. distracted. MACE-WINDU Obi - Wan, you must have faith that he will take the right path. OBI - WAN climbs into the cockpit of the Starfighter. OBI-WAN Has Master Yoda gained any insight into whether or not this war will come about? MACE WINDU Probing the Dark Side is a dangerous process. He could be in seclusion for days. May the force be with you.", "INT. JEDI TEMPLE, YODA'S QUARTERS - LATE AFTERNOON YODA sits with his eyes closed, meditating. Silence.", "EXT. NABOO LAKE RETREAT, LOUNGE, LATE AFTERNOON The setting sun touches the mountain peaks. The lake glows in the rose - tinted light. Floatinf lamps glean softly like jewels at the lodge.", "INT. NABOO LAKE RETREAT, DINING ROOM - LATE AFTERNOON NANDI place dessert in front of PADME. TECKLA does the same for ANAKIN. The dessert is some kind of fruit. PADME picks up her fork and goes to spear a piece, but it moves! She frowns and tries again - the fruit moves. She lokk up at ANAKIN. His eyes are on his plate. PADME You did that? ANAKIN looks up - wide - eyed innocence. ANAKIN What? PADME scowls at him. PADME jabs at the fruit - ANAKIN subtly moves his hand and it lifts up from the plate and hovers in front of her. PADME That! Now stop it! PADME laughs. ANAKIN laughs. She reaches out for the fruit - it loops. PADME -LRB- continuing. -RRB- Anakin! ANAKIN moves his fingers. The fruit flies into his hand. ANAKIN I'm not really supposed to do that. for fun, I mean. If Master Obi - Wan were here, he'd be very grumpy. ANAKIN is pleased. He cuts the fruint into several pieces and sends one back to PADME. She bites it out of the air and laughs.", "INT. NABOO LAKE RETREAT, LODGE, FIREPLACE ALCOVE - TWILIGHT A fire blazes in the open hearth. PADME is sitting in front of it, gazing at the flames. She looks up as ANAKIN arrives. She makes room for him. Brief pause. ANAKIN May I tell you something? PADME I do n't know. ANAKIN Then how can I tell you? PADME Maybe you should use your Jedi intuition. ANAKIN It does n't work around you. My mind is always a muddle. I can only think of you. PADME Anakin, do n't. ANAKIN From the moment I met you, all those years ago, a day has n't gone by when I have n't thought of you. And now that I'm close to you again, I'm in agony. The closer I get to you, the worse it gets. The thought of not being with you mskes my stomach turn over - my mouth goes dry. I feel dizzy. I ca n't breathe. I'm haunted by the kiss you should never have given me. My heart is beating, hoping that kiss will not become a scar. You are in my very soul, tormenting me. What can I do? I will do anything you ask. Silence. The logs flame in the hearth. ANAKIN -LRB- continuing. -RRB- If you are suffering as much as I am, tell me. PADME I ca n't. We ca n't. It's just not possible. ANAKIN Anything's possible. Padme, please listen. PADME You listen. We live in a real world. Come back to it. You're studying to become a Jedi Knight. I'm a Senator. If you follow your thoughts through to conclusion, they will take us to a place we can not go. regardless of the way we feel about each other. ANAKIN Then you do feel something! There's an extraordinary connection between us. You ca n't deny that. PADME Annie, it does n't make any difference. Jedi are n't allowed to marry. You swore an oath, remember? You'd be expelled from the Order. I will not let you give up your responsibilities. your future, for me. ANAKIN I was destined to be a Jedi. I do n't think I could be anything else. But you are asking me to be rational. That is something I know I can not do. I wish I could wish my feelings away. but I ca n't. PADME I am not going to give into this. I'm not going to throw my life away. I have more important things to do than fall in love. There is silence as they stare at the fire. ANAKIN is thinking. ANAKIN It would n't have to be that way. we could keep it a secret. PADME Then we'd be living a lie - one we could n't keep even if we wanted to. Mt sister saw it. So did my mother. I could n't do that. Could you, Anakin? Could you live like that? Silence for a moment. ANAKIN No, you're right. It would destroy us.", "EXT. SPACE It's just like the star map hologram, plus the storm - shrouded planet of Kamino, which is exactly where it ought to be. Obi - Wan's Starship flies OVER CAMERA and heads down toward the planet.", "EXT. TIPOCA CITY, KAMINO LANDING PLATFORM (RAINSTORM) - DAY Heavy rans and hard - driving winds lash the platform as Obi - Wan's Starship approaches. The huge, ultra - modern city of Tipoca rests on great stilts that keep it above the pounding and ever - present waves that cover the surface of this watery world. The Starfighter lands. OBI - WAN gets out and makes his way through the bowling wind toward a tower on the far side of the platform. A door slides open. A shaft of brilliant light pierces the swirling rain. OBI - WAN passes through it and goes inside.", "INT. TIPOCA CITY, CORRIDOR ENTRANCE A Brilliant white light. OBI - WAN pushes the soaking hood from his face. TAUN WE Welcome to Tipoca City, Master Jedi. OBI - WAN wipes the rain from his face and blinks in surprise at a tall, pasty - white alien named TAUN WE. He has large, almond shaped eyes. TAUN WE Everything is ready. The Prime Minister expects you. OBI-WAN -LRB- warily. -RRB- I'm expected? TAUN WE Of course! He is anxious to see you. After all these years, we were beginning to think you were n't coming. Now please, this way! OBI - WAN masks his surprise as they move away along the corridor. Obi - Wan follows Taun We cautiously.", "INT. TIPOCA CITY, PRIME MINISTER OFFICE - DAY The door slides open. OBI - WAN and TAUN WE enter and cross to where LAMA SU rises, smiling, from behind his desk, which, like all the furniture on Kamino, seems made out of pure light. TAUN WE May I present Lama Su, Prime Minister of Kamino. and this is Master Jedi. OBI-WAN Obi - Wan Kenobi. LAMA SU Please. LAMA SU indicates a chair. OBI - WAN sits. TAUN WE hovers. The room is bathed in brilliant white light. The whole place is ultra high - tech. LAMA SU I trust you are going to enjoy your stay. We are most happy you have arrived at the best part of the season. OBI-WAN You make me feel most welcome. LAMA SU And now to business. You will be delighted to hear we are on schedule. Two hundred thousand units are ready, with another million well on the way. OBI-WAN -LRB- improvising. -RRB- That is. good news. LAMA SU Please tell your Master Sido - Dyas that we have every confidence his order will be met on time and in full. He is well, I hope? OBI-WAN I'm sorry Master -? LAMA SU Jedi Master Sifo - Dyas. He's still a leading member of the Jedi Council, is he not? OBI-WAN Oh, yes. Sido - Dyas. LAMA SU -LRB- rising. -RRB- You must be anxious to inspect the units for yourself. OBI-WAN That's why I'm here.", "EXT. NABOO, MOUNTAIN MEADOW - LATER AFTERNOON PADME and ANAKIN are in the middle of an idyllic hilly meadow, its lush grasses sprinkled with flowers. At a distance, a herd of SHAAKS graze contentedly. Beyond is the shimmering expanse of the lake. Several other lakes stretch to the horizon. The warm air is full of little floating puffballs. They sit on the grass, in a playful, coy mood, talking. PADME is picking flowers. PADMÉ I do n't know. ANAKIN Sure you do. you just do n't want to tell me. PADMÉ Are you going to use one of your Jedi mind tricks on me? ANAKIN They only work on the weak - minded. You are anything but weak - minded. PADMÉ All right. his name was Palo. I was twelve. We were both in the Legislative Youth Program. He was a few years older then I. very cute. dark curly hair. dreamy eyes. ANAKIN All right, I get the picture. whatever happened to him? PADMÉ I went on to become a Queen. He went on to become an artist. ANAKIN Maybe he was the smart one. PADME You really do n't like politicians, do you? ANAKIN I like two or three, but I'm not really sure about one of them. -LRB- smiling. -RRB- I do n't think the system works. PADME How would you have it work? ANAKIN We need a system where the politicians sit down and discuss the problems, agree what's in the best interests of all the people, and then do it. PADME That is exactly what we do. The trouble is that people do n't wlways agree. In fact, they hardly ever do. ANAKIN Then they should be made to. PADME By whom? Who's going to make them? ANAKIN I do n't know. Someone. PADME You? ANAKIN Of course not me. PADME But someone. ANAKIN Someone wise. PADME That sounds an awful lot like a dictatorship to me. A mischievious little grin creeps across his face. ANAKIN Well, if it works. PADME stares at ANAKIN. He looks back at her, straight - faced, and ca n't hold a smile. PADMÉ You're making fun of me. ANAKIN -LRB- sarcastic. -RRB- On no, I'd be much too frightened to tease a Senator. PADMÉ You're so bad! PADME picks up a piece of fruit and throws it at him. He catches it. PADME throws two more pieces of fruit, and ANAKIN catches them. ANAKIN You're always so serious. Always carrying the weight of the universe on your shoulders. ANAKIN then starts to juggle the fruit. PADME laughs and throws more fruit at him. He manages to juggle them too until there are too many, and he loses control and ducks, letting food fall on his head. They both laugh. ANAKIN stands in front of a SHAAK, yelling at it and waving his arms. PADME starts laughing as ANAKIN runs in circles, chased by the SHAAK. The SHAAK crosses in front of PADME. ANAKIN is riding it, facing the SHAAK'S tail. The SHAAK bucks, and ANAKIN falls off. PADME laughs even harder. ANAKIN lies still. PADME jumps uip and runs to where ANAKIN is face down in the grass. She turns him over. He is pulling a stupid face at her. She yelps in mock fury and takes a swing at him. He catches her arm. She struggles. They roll over in the grass. Suddenly, they become aware of the contact between them. They let go of each other quickly and sit up, looking away. ANAKIN stands up and holds out his hand to her. She take it. He pulls her up. And now they are easy together, not self - conscious any more. PADME scrambles up onto the SHAAK behind ANAKIN. She puts her arms around his waist and leans against his back. ABAJUB digs his heels in. The SHAAK starts forward, and they ride away.", "EXT. TIPOCA CITY, PARADE GROUND (RAINSTORM) - DAY OBI - WAN, LAMA SU and TAUN WE come out onto a balcony. Below is a huge parade ground. The rain and wind are brutal. THOUSANDS OF STORMTROOPERS, faces covered by helmets, are marching and drilling in formations of several hundred. LAMA SU -LRB- beaming. -RRB- Magnificent, are n't they? OBI - WAN nods slowly.", "INT. TIPOCA CITY, CLONE CENTER, COMMINSSARY - DAY LAMA SU conducts OBI - WAN through a large eating area. TAUN WE follows as they walk by HUNDREDS OF CLONES who look exactly alike, all about twenty years old, dressed in black. They are seated at tables, eating. LAMA SU We modified their genetic structure to make them less independent than the original host. As a result they are totally obedient, taking any order without question. OBI-WAM Who was the original host? LAMA SU A bounty hunter called Jango Fett. We felt a Jedi would be the perfect choice, but Sido - Dyas hand - picked Jango Fett himself. OBI-WAN Where is this bounty hunter now? LAMA SU Oh, we keep him here. After a few hundred thousand clones, the genetic pattern starts to fade, so we take a fresh supply. He lives here, but he's free to come and go as he pleases.", "INT. TIPOCA CITY, CLONE CENTER, BARRACKS - DAY The tour continues through a long corridor folled with narrow, transparent tubes into which CLONES are climbing. Once in the tube, the CLONE goes to sleep. LAMA SU Apart from his pay, which is considerable, Fett demanded only one thing - an unaltered clone for himself. Curious is n't it? OBI-WAN Unaltered? LAMA SU Pure genetic replication. No tampering with the structure to make it more docile. and no growth acceleration. OBI-WAN I would like to meet this Jango Fett. TAUN WE I would be most happy to arrange it, for you. TAUN WE bows, and leaves.", "INT. TIPOCA CITY, CLONE CENTER, CLASSROOM - DAY The tour continues through a classroom filled with IDENTICAL YOUNG BOY CLONES. OBI-WAN You mentioned growth acceleration. LAMA SU Oh yes, it's essential. Otherwise, a mature clone would take a lifetime to grow. Now, we can do it in half the time. Those items you saw on the parade ground were started ten years ago, when Sido - dyas first placed the order, and they're already mature. OBI - WAN looks at the BOY CLONES. OBI-WAN And these? LAMA SU About five years ago.", "INT. TIPOCA CITY, CLONE CENTER, HATCHERY - DAY They enter a space filled with great racks of glass spheres, which are filled with fluid in which EMBRYOS are suspended. LAMA SU They're immensely superior to droids, capable of independent thought and action. OBI-WAN Very impressive. LAMA SU I'd hoped you would be pleased. OBI - WAN gazes at the nearest embryos. OBI-WAN -LRB- carefully. -RRB- Tell me, prime minister, when my Master Sido - dyas first contacted you, did he say the order was for. himself. or? LAMA SU Himself? Of course not. This army is for the Republic? OBI-WAN -LRB- astonished. -RRB- The Repubic? LAMA SU We are also very much agasint this Count Dooku and his seccessionist movement. We are proud to be of help to the Republic.", "INT. TIPOCA CITY, APARTMENT - LATE DAY TAUN WE shows OBI - WAN into his room. TAUN WE I have arranged for you to meet Jango Fett in the morning. Sleep well. TAUN WE goes. The door slides closed behind him. OBI - WAN looks around, then moves swiftly to check the room over. Finally, satisfied, he takes out his comlink. OBI-WAN Arfour, Arfour.", "EXT. TIPOCA CITY LANDING PLATFORM, JEDI FIGHTER, (RAINSTORM) - LATE DAY The R4 D17, Obi - Wan's Astro - Droid, who is sitting on top of Obi - Wan's Starfighter, switches on and BEEPS.", "INT. TIPOCA CITY, APARTMENT - LATE DAY OBI - WAN hears ARFOUR BEEP through his comlink. OBI-WAN Arfour, relay this, `` scramble code five,'' to Courscant : care of `` the old folks home.''", "EXT. TIPOCA CITY LANDING PLATFORM, JEDI FIGHTER, (RAINSTORM) - LATE DAY ARFOUR BEEPS and WHISTLES. The panels light up inside the cockpit, as the message is transmitted.", "EXT. JEDI TEMPLE, LIVINF QUARTERS - EARLY EVENING YODA and MACE WINDU listen as a hologram of OBI - WAN stands between them broadcasting the massage. The singnal is very weak, the image fades in and out. OBI-WAN -LRB- V.O. -RRB- I've never heard of a Jedi called Sido - Dyas, have you, Master? MACE WINDU No. Whoever placed that order was not a Jedi, I can assure you. OBI-WAN -LRB- V.O. -RRB- I have a strong feeling that this bounty hunter is the assassin we're looking for. YODA Who he is working for. discover that, you must. OBI-WAN -LRB- V.O. -RRB- I will, Master, and I will also find out more about this clone army. May The Force. The hologram switches off, and OBI - WAN fades away. WINDU A clone army! Ordered by someone in the Senate perhaps. Someone's out to start a war. YODA Inform the chancellor of this, we must. WINDU Who do you think this impostor Sido - Dyas, could be? YODA stares back at MACE WINDU, then slowly shakes his head.", "EXT. NABOO LAKE RETREAT - NIGHT The silent lodge. The triple moons of Naboo reflected in the tranquil waters of the lake.", "INT. NABOO LAKE RETREAT, ANAKIN'S BEDROOM - NIGHT ANAKIN moves restlessly in his sleep. He mutters to himself. Sweat forms on his forehead. He turns violently. He cries out. ANAKIN No. No. No. Mom! Do n't, no, do n't!", "EXT. NABOO LAKE RETREAT, LODGE, BALCONY OVERLOOKING GARDENS - MORNING ANAKIN is on the balcony overlooking the gardens. After a moment, PAMDE comes onto the balcony behind him. She sees he is meditating and turns to go. ANAKIN -LRB- eyes closed. -RRB- Do n't go. PAMDE I do n't want to disturb you. ANAKIN Your presence is soothing. Brief pause. PADME You had a nightmare again last night. ANAKIN Jedi do n't have nightmares. PADME I heard you. ANAKIN'S opens his eyes and looks at her. ANAKIN I saw my mother. I saw her as clearly as I see you now. She's suffering, Padme. She is in pain. They're killing her! -LRB- getting up. -RRB- I know I'm disobeying my mandate to protect you, Senator. I know I will be punished and possibly thrown out of the Jedi Order, but I must go. I have to help her! I'm sorry, Padme. I do n't have a choice. PADME Annie, I told you I would n't let you give up your future for me. I'll go with you. That way you can continue to protect me, and you wo n't be disobeying your mandate. ANAKIN What about Master Obi - wan? PADME smiles and takes his hand. PADME I guess we wo n't tell him, will we?", "EXT. NABOO LAKE, FLOATING LANDING PLATFORM - DAY ANAKIN and PADME step onto the landing platform from the water speeder. They enter the Naboo Starship. ARTOO BEEPS, and follows them on board. The ramp retracts. PADDY ACCU drives the water speeder away from the platform as Anakin's Starship takes off.", "EXT. TIPOCA CITY (RAINSTORM) - DAY Rain lashes the city. Below, mightly waves pound the stilts, breaking almost to the height of the platforms.", "INT. TIPOCA CITY, CORRIDOR - DAY TAUN WE conducts OBI - WAN to the door of Jango Fett's apartment. TAUN WE waves his hand, and a muted bell RINGS. As they wait, OBI - WAN notes the door lock entry mechanism. Then the door opens, and a ten - year - old boy, BOBA FETT, looks at them. He is identical to the boys in the classroom. TAUN WE Boba, is your father here? There is a brief pause, then BOBA FETT nods. TAUN WE -LRB- continuing. -RRB- May we see him? BOBA FETT Sure. Another brief pause, then BOBA FETT steps aside, and TAUN WE and OBI - WAN go through.", "INT. TIPOCA CITY, FETT APARTMENT - DAY OBI - WAN, TAUN WE, and BOBA FETT enter the apartment. OBI - WAN looks around the room. BOBA FETT Dad! Taun We's here! JANGO FETT comes in from the bedroom. He wears a jumpsuit. He is unshaven and mean looking, his face pitted with scars of old wounds. There are a couple of weird tattoos on his muscular forearms. He eyes OBI - WAN with suspicion. TAUN WE Welcome back, Jango. Was your trip productive? JANGO FETT Fairly. OBI - WAN and JANGO FETT size each other up. BOBA FETT studies both of them. TAUN WE This is Jedi Master, Obi - Wan Kenobi. He's come to check on our progress. JANGO FETT That right? JANGO FETT'S eyes fix OBI - WAN coldly. OBI-WAN Your clones are very impressive. You must be very proud. JANGO FETT I'm just a simple man, trying to make my way in the universe, Master Jedi. OBI-WAN Are n't we all? OBI - WAN eyes the half - open bedroom door, through which a couple of pieces of body armour can be seen on the floor. JANGO FETT registers OBI - WAN'S look. He moves in front of him, blocking the view. OBI-WAN -LRB- continuing. -RRB- Ever made your way as far into the interior as Coruscant? JANGO Once or twice. OBI-WAN Recently? JANGO -LRB- eyes Obi - Wan carefully. -RRB- Possibly. OBI-WAN Then you must know Master Sido - Dyas? JANGO Boba, close the door. BOBA FETT moves to close the bedroom door. JANGO FETT smiles thinly at OBI - WAN. JANGO -LRB- continuing. -RRB- Master who? OBI-WAN Sido - Dyas. Is n't he the Jedi who hired you for this job? JANGO Never heard of him. I was recuited by a man called Darth Tyranus on one of the moons of Bogden. OBI-WAN No? I thought. TAUN WE Sido - Dyas told us to expect him. And he showed up just when your Jedi Master said he would. We have kept the Jedi's involvement a secret until your arrival, just as your Master requested. OBI-WAN Curious. JANGO Do you like your army? OBI-WAN It seems to me it's your army - being that they are all clones of you. JANGO -LRB- grinning. -RRB- They'll do their job well, I'll guarantee that. OBI-WAN I look forward to seeing them in action. Thank you for your time, Jango. JANGO Always a pleasure to meet a Jedi. OBI - WAN and TAUN WE go out. The door slides closed. JANGO FETT turns to his son. He is deep in thought. BOBA What is it, Dad?", "EXT. SPACE The Naboo Starship heads toward the desert planet of Tatooine.", "EXT. TATOOINE, MOS ESPA STREETS AND WATTO'S SHIP - DAY The Naboo Starship lands in a large parking lot of Spaceships on the outskirts of Mos Espa. ANAKIN and PADME ride a rickshaw through the streets. ANAKIN stares at sights he has n't seen for years. Finally, they come to Wattos' shop, and the rickshaw stops. ANAKIN -LRB- to the droid driver. -RRB- Wait, please. ANAKIN and PADME get down. Sitting on a stool in front of the shop is WATTO. He is using a small electronic screwdriver on a fiddly DROID. THREE PIT DROIDS are chattering away and are trying to help him, but they seem only to make him madder. WATTO -LRB- yelling, in Huttese. -RRB- No, not that one - that one! ANAKIN -LRB- arriving. -RRB- Excuse me, Watto. WATTO -LRB- in Huttese. -RRB- What? ANAKIN -LRB- in Huttese. -RRB- I said excuse me. WATTO turns to the chattering PIT DROIDS. WATTO -LRB- in Huttese. -RRB- Shut down. The PIT DROIDS snap into their storage position. WATTO -LRB- continuing, in Huttese. -RRB- What? I do n't know you. What can I do for you? You look like a Jedi. Whatever it is. I did n't do it. WATTO drops the screwdriver and curses loudly in Huttese ANAKIN Let me help you with that. ANAKIN takes the fiddly piece of equipment and starts to play with it. WATTO blinks in surprise. ANAKIN -LRB- continuing. -RRB- I'm looking for Shmi Skywalker. WATTO looks at him suspiciously. He stares at PADME, then back to ANAKIN. WATTO Annie? Little Annie? Naaaah! Suddenly, the fiddly piece of equipment in Anakin's hands WHIRS into life. WATTO blinks at it. WATTO -LRB- continuing ; in English. -RRB- You are Annie! It is you! You little womp rat. WATTO gives ANAKIN a big hug. WATTO -LRB- continuing. -RRB- You sure sprouted Weehoo! A Jedi! Waddya know? Hey, maybe you couldda help wit some daedbeats who owe. ANAKIN My mother. WATTO Oh, yeah. Shmi. she's not mine no more. I sold her. ANAKIN Sold her. WATTO Years ago. Sorry, Anne, but you know, business is business. Sold her to a moisture farmer named Lars. Least I think it was Lars. Believe it or not, I heard he freed her and married her. Can ya beat that? ANAKIN Do you know where they are? WATTO Long way from here. someplace over on the other side of Mos Eisley, I think. ANAKIN I'd like to know. ANAKIN'S grim look means business ; WATTO gets the hint quickly. WATTO Yeah. sure. absolutely. Let's go look in my records. ANAKIN and WATTO go into the shop.", "EXT. TIPOCA CITY (RAINSTORM) - DAY The waves crash against the water city as the storm continues. Light suddenlyt streams from the base of a landing platform as a door slides open.", "INT. TIPOCA CITY, CORRIDOR - DAY OBI - WAN stands with LAMA SU and TAUN WE just inside the open door. LAMA SU Tell your Council the first battalions are ready. And remind them that if they need more troops, we will need time to grow them. OBI-WAN I wo n't forget.", "EXT. TIPOCA CITY, KAMINO LANDING PLATFORM (RAINSTORM) - DAY OBI - WAN comes out from the tower into the driving ran. The door closes behind him. He pulls his robe around him and stands braced against the gale. Below, a huge wave crashes against the stilts. Spray flies high and whips across the platform where OBI - WAN is standing. He walks over to his Starfighter, looks to see if anyone is watching, then turns and goes back to the door. It slides open.", "INT. TIPOCA CITY, CORRIDOR - DAY OBI - WAN enters cautiously from outside. Ahead, the corridor is deserted. He moves down it.", "INT. TIPOCA CITY, FETT APARTMENT - DAY OBI - WAN walks in to find the room in complete disorder. The bedroom door is wide open - clear signs of hurried departure. All of the Fetts' personal belongings are gone. OBI - WAN goes to an ultra - thin computer screen. He punches up AN ONSCREEN PICTURE of JANGO FETT and BOBA FETT unhitching the lines securing their ship to the landing platform. JANGO FETT is wearing his armour and rocket pack. BOBA FETT climbs aboard the small Fighter.", "EXT. TIPOCA CITY, KAMINO LANDING PLATFORM (RAINSTORM) - DAY JANGO FETT picks up a case and swings it up to BOBA FETT, who stows it inside the ship. JANGO FETT picks up another case and is about to swing it, when : BOBA FETT Dad! JANGO FETT turns to see OBI - WAN charging out of the tower toward him. As he runs, OBI - WAN draws his lightsaber from his belt. It flashes on. JANGO FETT draws his gun and fires at the charging JEDI. OBI - WAN deflects the blast and swings at JANGO FETT. The bounty hunter rockets up and over OBI - WAN, landing behind him. He fires a thin wire from his wrist pack, trying to entangle the Jedi. JANGO FETT fire several Kamino Kyber Darts from his elbow launcher. OBI - WAN deflects them back at JANGO FETT, but they strike harmlessly against the bounty hunter's armour. IN THE COCKPIT of Jango Fett's ship, BOBA FETT grabs the controls of a laser gun and swings it to aim at OBI - WAN. OUTSIDE, in the driving rain, OBI - WAN and JANGO FETT circle each other, sizing each other up - feinting. IN THE COCKPIT, each time BOBA FETT is ready to fire, JANGO FETT blocks his view of OBI - WAN. OUTSIDE, OBI - WAN makes a sudden attack, swinging at JANGO FETT, who deflects the blows. One slices off a piece of the bounty hunter's shoulder plate. JANGO FETT rockets into the air and hovers above OBI - WAN. The Jedi spins as : IN THE COCKPIT, BOBA FETT fires. OUTSIDE, the laser shell streaks past OBI - WAN to strike the edge of the tower. JANGO FETT fires down at OBI - WAN. The Jedi deflects the shots back, but JANGO FETT evades them. Then he swoops down, swinging around OBI - WAN. As he shoots past, he kicks the lightsaber out of the Jedi's hand. The lightsaber skids across the wet surface of the landing platform. OBI - WAN dives after it. JANGO FETT zooms in front of him and grabs the lightsaber. OBI - WAN punches it out of his hand. IN THE COCKPIT, BOBA FETT watches as : OUTSIDE, OBI - WAN and JANGO FETT grapple and fight, punching, kicking, grabbing hold, and throwing each other around. OBI - WAN grabs JANGO FETT tightly, and JANGO FETT rockets up into the air and kicks OBI - WAN loose. OBI - WAN crashes to the deck and slides toward the edge. He grapples desperately for a handhold on the slick surface. JANGO FETT rockets down to kick at him. OBI - WAN hauls himself up. JANGO FETT zooms to the far side of the platform. OBI - WAN uses Jedi powers to pull part of the structure loose. It hits JANGO FETT, who loses his balance, teetering on the edge. OBI - WAN charges acress, dives, and grabs hold of JANGO FETT just as he falls over the edge. Locked together, OBI - WAN and JANGO FETT plummet down toward the raging ocean. At the last moment, JANGO FETT fires a cable out of his backpack that shoots upward and locks onto a metal strut on the underside of the platform. OBI - WAN and JANGO FETT swing and CRASH onto one of the stilts. OBI - WAN is knocked clear and drops onto a SMALL SERVICE PLATFORM just above the waves. He hauls himself to his feet. JANGO FETT hovers in mid - air opposite him, as a HUGE WAVE crashes over OBI - WAN. When it subsides, the Jedi has disappeared. JANGO FETT rockets up to the landing platform, where he drops down beside his ship. He clambers inside the cockpit and settles into the pilot's seat. He punches buttons. The engines ROAR. OUTSIDE, Jango Fett's ship lifts off from the platform and heads up into the lowering sky. It disappears. Lightning flashes. Rain lashes the tower and streams across the surface of the platform, to where : A HAND suddenlt clutches at the very edge of the platform. A moment later, ANOTHER HAND grabs hold.", "EXT. TATOOINE, BLUFF OVERLOOKING HOMESTEAD - LATE DAY The Naboo Starship descends, hovers, and land on a bluff. ANAKIN and PADME get out. They look down from the edge of the bluff to where the homestead is seen on the desert floor below. PADME Stay with the ship, Artoo. ARTOO WHISTLES as ANAKIN and PADME start down the trail toward the homestead.", "EXT. TATOOINE, DESERT, HOMESTEAD MOISTURE FARM - LATE DAY C - 3PO is working outside the homestead. He still lacks an outer covering ; his inner parts and wiring show. He looks up as ANAKIN and PADME arrive, C-3PO Good evening. May I help you? ANAKIN Threepio? C-3PO Oh, my. oh, my! Master Anakin! My goodness, I can hardly believe it! And this must be Miss Padme. PADME Hello, Threepio. ANAKIN I've come to see my mother. C-3PO Oh, dear! I'm so terribly sorry, Master Annie. PADME Threepio, what's happened? C-3PO I think we'd better go inside.", "EXT. TATOOINE, HOMESTEAD, COURTYARD - LATE DAY ANAKIN, PADME and THREEPIO arrive in the courtyard. THREEPIO shuffles ahead. C-3PO Master Lars - Master Owen! Somebody to see you! OWEN LARS and BERU WHITESUN come out into the courtyard. ANAKIN I'm Anakin Skywalker. I'm here looking for my mother. OWEN Owen Lars. I guess I'm your step - brother. -LRB- they shake hands. -RRB- This is my girlfriend, Beru. BERU Hello. PADME I'm Padme. OWEN I had a feeling you might show up some day. ANAKIN Is my mother here? CLIEGG No, she's not. CLIEGG LARS swings from the house on a small floating chair. One of his legs is heavily bandaged ; the other is missing. He balances awkwardly and puts out a hand. CLIEGG -LRB- continuing. -RRB- Cliegg Lars. Shmi is my wife. Come on inside. We have a lot to talk about.", "INT. TATOOINE, HOMESTEAD, KITCHEN - LATE DAY BERU puts several steaming cups of ardees on a tray and exits the kitchen. CLIEGG -LRB- O.S. -RRB- It was just before dawn. They came out of nowhere. A hunting party of Tusekn Raiders.", "INT. TATOOINE, HOMESTEAD, DINING AREA - LATE DAY CLIEGG, OWEN, PADME and ANAKIN sit around the table, BERU brings the drinks from the kitchen. CLIEGG Your mother had gone out early, like she always did, to pick mushrooms that grow on the vaporatos. From the tracks, she was about halfway when they took her. Those Tuskens walk like men, but they're vicious, mindless monsters. Thirty of us went out after her. Four of us came back. Three more are still out there looking. I'd be with them, only. I just could n't ride any more. until I heal. CLIEGG grimaces, easing his throbbing leg. CLIEGG -LRB- continuing. -RRB- This is n't the way I wanted to meet you, son. This is n't how your mother and I planned it. I do n't want to give up on her, but she's been gone a month. There's little hope she's lasted this long. Silence. Then ANAKIN stands up. OWEN Where are you going? ANAKIN To find my mother. PADME No, Annie! CLIEGG She's daed, son. Accept it. ANAKIN I can feel her pain, and I will find her. I know she's alive. ANAKIN turns abruptly.", "EXT. TATOOINE, HOMESTEAD, MOISTURE FARM - LATE DAY ANAKIN stands looking across the desert. PADME comes running out of the homestead after him, followed by OWEN. ANAKIN turns to PADME. ANAKIN You are going to have to stay here. These are good people, Padme. You'll be safe. OWEN Take my speeder bike. PADME Anakin. PADME hugs him. ANAKIN walks over to Owen's speeder bike, which is standing close by. ANAKIN I trust you'll watch over her, Owen. OWEN Do n't worry. ANAKIN swings onto the bike. The engine fires. ANAKIN I wo n't be long. ANAKIN takes off across the desert. PADME watches him go.", "EXT. SPACE, GEONOSIS The red planet of Geonosis is circled by a large asteroid field that form rings. Jango Fett's ship appears, heading toward it.", "INT. COCKPIT, FETT SHIP, SPACE, GEONOSIS JANGO FETT grins at BOBA FETT. JANGO FETT Nearly there, son. JANGO FETT guides he ship around the asteroids. Suddenly : BOBA FETT Dad, look! On the view screen, Obi - Wan's ship appears, chasing after them. JANGO FETT grabs the controls. They are thrown around as the ship plummets to try to lose OBI - WAN. JANGO FETT Hang on! The ship goes into a power - climb. A GREAT SPACE DDOGFIGHT ensues between OBI - WAN and JANGO FETT.", "EXT. SPACE, GEONOSIS The ships flip, roll, and turn at incredible speed, didging, weaving and firing. They tumble from near misses. Hits fly off Obi - Wan's fighter as one of Jango's missiles gets through. Finally, it seems as if OBI - WAN is getting the upper hand. JANGO FETT breaks off the fight and dives sharply. He maneuvers deftly between two huge asteroids. In JANGO FETT'S COCKPIT, BOBA FETT flinches as asteroids pass very close by. BOBA FETT Dad! Watch out! JANGO FETT Stay calm, son. We'll be fine. That Jedi wo n't be able to follow us through this. But Obi - Wan ship dives into the asteroid belt after them. IN OBI - WAN'S COCKPIT, his skill is pushed to the limit as he throws the ship from side to side, avoiding great rocks. Then a huge asteroid tumbles across his path. There seem no way he can avoid it. OBI - WAN fires a couple of aerial torpedoes. They streak toward the asteroid. IN JANGO'S COCKPIT, they see the huge explosion as Obi - Wan's ship appears to smash into the asteroid. BOBA FETT Got him! Yeahhhhh! JANGO FETT We wo n't see him again. BOBA FETT laughs. Jango Fett's ship emerges from the asteroid belt and heads down toward the planet of Geonosis.", "EXT. TATOOINE, DESERT, JAWA CAMP - SUNSET ANAKIN stands in the middle of a crowd of JAWAS. He asks them from directions. The JAWAS confer exicitedly, then the CHIEF JAWA points in a particular direction. ANAKIN gets on the bike and speeds off to where the JAWA pointed.", "EXT. TATOOINE, DUNE SEA, CAMPFIRE - TWILIGHT ANAKIN rides over a large dune toward a small flickering light in the distance. He rides up and stops the bike in front of a campfire. There are bodies of THREE DEAD FARMERS lying beside the campfire. TWO EOPIES are thethered nearby, along with a burned and smoking speeder.", "EXT. TATOOINE, LANDSCAPE (FULL MOON) - NIGHT THREE DIFFERENT SHOTS. ANAKIN rids the speeder bike through three exotic landscapes. In one shot, he stops and looks down at some tracks. Then he starts up his speeder and rides off.", "EXT. TATOOINE, DESERT, HOMESTEAD (FULL MOON) - NIGHT The lights of the vaporators blink in the night sky. Somewhere close by, a night animal HOWLS.", "EXT. TATOOINE, HOMESTEAD, COURTYARD (FULL MOON) - NIGHT PADME is pacing the courtyard restlessly. She stops, listening to the animal HOWLING nearby. She shivers slightly, then turns and goes into the garage at the side of the courtyard.", "INT. TATOOINE, HOMESTEAD - GARAGE (FULL MOON) - NIGHT PADME stands looking at a speeder parked in the garage. Short silence. Then : C-3PO Please do n't leave us, Miss Padme. These people need your help. THREEPIO is parked in a corner. PADME I'm not leaving, Threepio. I just ca n't sleep. C-3PO That's something I can not relate to. As a Protocol Droid, I'm either active or inactive. There's no in - between. PADME I guess you're lucky. C-3PO Do you really think so? I suppose I should n't expect. PADME You're not happy here? C-3PO Oh, I'm not unhappy. and my masters here ar so kind I would n't wish to trouuble them, it's just. being like this. well, it's embarrassing. PADME Being like what? C-3PO Naked. If you pardon the expression. You see, when Master Annie made me, he never quite found the time to give me any outer covering. It's so humiliating. How would you like it if you had to go around with all your circuits showing? PADME I guess I would n't like it at all. C-3PO Of course you would n't. Nobody would. It's simply not protocol. PADME looks thoughtfully at a pile of spare parts and bits of metal and tools. PADME Maybe we can do something about it. C-3PO I do n't think so. Only Master Annie. PADME Why not? They seem to have a box of old coverings here. C-3PO Oh? How observant of you, Miss Padme. Of course, I'm just not mechanically minded. if you see what I mean. PADME picks up a piece of metal and holds it against him. PADME Let's see, if we put this. here. C-3PO Ooooh! That's tickles. PADME You'll have to be quiet, Threepio. Hold still, please.", "EXT. SPACE, GEONOSIS RINGS A huge chunk of rock tumbles slowly through the asteroid bely. CAMERA CLOSES, to discover Obi - Wan's Starship hidden in a blasted - out area on the pitted back side of the great rock.", "INT. COCKPIT, JEDI FIGHTER, SPACE, GEONOSIS RINGS OBI - WAN looks out toward Geonosis and sees in the distance a large fleet of Trade Federation Ships hidden among the asteroids. He starts the engines of his fighter. Obi - Wan's Fighter moves out from the back side of the asteroid and heads away from the asteroid field, descending toward Geonosis.", "EXT. GEONOSIS, LANDING AREA - NIGHT Obi - Wan's ship skims across the top of a small mesa along the edge of a rocky ridge. He maneuvers under a rock overhang and lands. He gets out of the Fighter and walks onto the mesa. The wind whips at him. He looks around. Geonosis is a red rock planet, featureless apart from buttes and mesas, and occasional tall stalagmites that stand out dramatically on the arid plains. The night is quiet, except for an occasional WEIRD CRY. OBI - WAN checks his bearings, then heads away.", "EXT. GEONOSIS, ROCK FACE TRAIL - NIGHT OBI - WAN climbs a steep, narrow trail. Suddenly, a CRY is heard close by. OBI - WAN stumbles slightly. His foot slips on the edge, sending a stream of peblles skittering into the darkness. OBI - WAN listens. Silence. He draws his lightsaber but does not ignite it. He sets off again and works his way around a narrow corner, to confront a crouching MASSIFF -LRB- a dog - sized lizard -RRB- with slavering fangs! The beast leaps at him, and OBI - WAN ignites his lightsaber as the MASSIFF knocks him on his back. Its jaws open wide. OBI - WAN stabs the creature, throws it off of him, and jumps up. A SECOND MASSIFF jumps from behind. OBI - WAN swings around and cuts it in half. The MASSIFF flies over the cliff, HOWLING. It plummets to its death hundreds of feet below.", "EXT. TATOOINE, CLIFF (FULL MOON) - NIGHT ANAKIN pulls up near the edge of a cliff. He gets off the bike and creeps to the edge. He looks over to see a Tusken camp in the oasis below. One of the huts at the edge of the camp has TWO TUSKEN GUARDS outside it.", "EXT. TATOOINE, TUSKEN RAIDER CAMP, OASIS (FULL MOON) - NIGHT ANAKIN creeps through the camp, working his way from hut to hut, flattening himself against the wall, s overhearing snatches of Tusken conversation from inside, using the shadows to him him until he arrives at the hut with the TWO GUARDS. They are sitting a short distance from the door. ANAKIN wriggles around the black. He takes out his lightsaber and cuts into the base of the wall.", "INT. TUSKEN RAIDER HUTT - NIGHT The lightsaber completes the hole in the wall. ANAKIN wriggles in. He pulls himself to his feet. There are candles everywhere. A shaft of moonlight from a hole in the roof pierces the gloom of the hut. By its light, ANAKIN sees SHMI, hanging from a wooden frame in the middle of the hut. He cuts her free, takes her into his arms, and lowers her gently to the ground. Her eyes are closed. Her face is bloodied. She has been terribly beaten. Anakin cradles her tenderly. ANAKIN Mom. Mom. Mom. SHMI'S eyelids flutter - and barely open. They are caked with blood. SHMI Annie? Is it you? SHMI'S eyes focus slowly. ANAKIN gives a little choking gasp. ANAKIN I'm here, Mom. You're safe. Hang on. I'm going to get you out of here. SHMI I'm so glad. to see you, Annie. Now. I am complete. ANAKIN Just stay with me, Mom. I'm going to make you well again. Everything's going to be fine. SHMI You look so handsome. My son. my grown - up son. I'm so proud of you, Annie. so proud. I missed you so much. I love. SHMI dies. ANAKIN draws her to his breast. There is silence for a moment. ANAKIN lifts his head, listening for a moment, then he sits on the floor of the Tusken hut, cradling his dead mother in his arms.", "EXT. GEONOSIS, ROCK FACE TRAIL - NIGHT OBI - WAN arrives at the head of the trail. Far below, a flat plain stretches into the distance. He stop, peering into the darkness, where strange shapes loom indistinctly. OBI - WAN takes a pair of electronic binoculars from his belt and puts them to his eyes. He sees a cluster of great towers like fantastic stalagmites rise from the plain below. SLOW PAN with the binoculars, and suddenly a line of Battle Starships come into view. OBI - WAN touches the viewfinder. Between fifty and a hundred Federation Starships in near rows. Some are on platforms that are carrying the Starships diwn to an underground facility. Other platforms are rising to the surface. They carry THOUSANDS of BATTLE DROIDS that step off and file into the waiting ships. A fully loaded Starship takes off. OBI - WAN swings the binoculars upward, to see more Federation Starships.", "EXT. TATOOINE, TUSKEN RAIDER CAMP, OASIS - DAWN The pale light grows. Thin tendrils of smoke rise slowly in the cold, clear air. Somewhere an dog BARKS. An OLD WOMAN comes out of one of the huts. She carries a pail. She swirls it and tosses the dirty water onto the ground. As she goes back inside the hut, a TUSKEN CHILD runs past, dragging a stick in the sand. The CHILD runs through the line of huts, turns a corner, and stops suddenly, staring at the bodies of the TWO TUSKEN GUARDS. Between them, ANAKIN stands outside the hut door. His face is a grim mask. The CHILD stares, then there is a FLASH OF LIGHT as Anakin's lightsaber switches on.", "EXT. GEONOSIS, LANDING AREA - NIGHT OBI - WAN comes running back to his ship and climbs into the cockpit. He settles into his seat. His ARFOUR DROID beeps a happy greeting. OBI - WAN switches on his comlink. OBI-WAN `` Guiding light'' to `` old folks home.''", "EXT. CORUSCANT, REPUBLIC EXECUTIVE BUILDING - DAY LOW ANGLE. A line of reflecting pools with splashing fountains flanked by statues on each side leads to the main entrance to the awesome building.", "INT. CORUSCANT, CHANCELLOR'S OFFICE A hologram of OBI - WAN flickers in front of a group, made up of Jedi -LRB- YODA, MACE WINDU, and KI - ADI - MUNDI -RRB- and Senators -LRB- BAIL ORGANA, ASK AAK, LUMINARA, and JAR JAR -RRB-. PALPATINE and MAS AMEDDA are in the middle of the group, watching with growing concern. OBI-WAN Starships from the Trade Federation and the Commerce Guilds are taking deliveries of battle droids from the foundries on Geonosis. BAIL ORGANA That's outrageous! The treaty forbids the Trade Federation from building up an army. What are they doing?! OBI-WAN The droid foundry seems to be working at full capacity. I am going to go down and investigate. I will bring Jango Fett back home for interrogation. PALPATINE Those Geonosian foundries are part of the Techno Union. We will call in their representatives and ask them a few very pointed questions. OBI-WAN One more thing. Jango mentioned he was recruited by someone named Darth Tyranus. Any idea who that might be? YODA With the forename Darth, a Sith he must be. MACE WINDU Our missing apprentice. They are playing their hand at last. OBI-WAN Do you believe he could be the mysterious Sido - Dyas, who made the deal for the clone army? YODA Perhaps too many pieces are missing from this puzzle, there are. MACE WINDU Be careful, Obi - Wan. This investigation is becoming less than routine. Do you need help? OBI-WAN Let me see if I can figure out what's going on first. The hologram of OBI - WAN fades off. PALPATINE stares at the spot where the hologram was in disbelief. BAIL ORGANA The Commerce Guilds are preparing for war. there can be no doubt of that. PALPATINE Count Dooku must have made a treaty with them. MACE WINDU We must stop them soon before they're fully ready. SENATOR ASK AAK The debate is over, we need that clone army now! BAIL ORGANA Unfortunately, the debate is not over. The Senate will never be able to approve the use of that army before the separatists attack. Mas Amedda, who had been silent up until now suddenly speaks up. MAS AMEDDA This is a crisis! If the Senate votes the Chancellor emergency powers, he could approve the use of the army in a minute. PALPATINE Please, please, I do n't wish to have emergency powers. That's too extreme a solution. It's akin to a dictatorship. We must rely on the Jedi. Master Yoda, how many are available to go to Geonosis? MACE WINDU and YODA look at one another. YODA Two Hundred,. less or more. BAIL ORGANA With all due respect for the Jedi Order, two hundred will be no match for hundreds of thousands of battle droids. MACE WINDU Patience. We should wait for Obi - Wan to report back. We do n't know that Count Dooku has made a treaty with the Corporate Alliance, it's speculation. SENATOR ASK AAK But we must prepare for the worst. I'm going to propose a motion granting emergency powers to the Chancellor at the next session. We must not wait! PALPATINE Out of the question, Senator! You and I are too closely aligned. The issue will become partisan and debates will begin. The proposal must come from a neutral source. MAS AMEDDA If only Senator Amidala were here. JAR JAR steps forward from the back of the group. JAR JAR Supreme Chancellor. my august colleagues, I would be proud to propose the motion in question. This is a grave situation, and I'm sure Senator Amidala, and the Queen of Naboo would agree. SENATOR ASK AAK Thank you, Representative Binks. Silence. Then PALPATINE sighs deeply. PALPATINE If called upon, I will serve. But it will be the saddest day of my life.", "EXT. TATOOINE, DESERT, HOMESTEAD MOISTURE FARM - DAY All is quiet. BERU comes out of the house. She goes to a moisture line and starts to draw water.", "INT. TATOOINE, HOMESTEAD, GARAGE - DAY PADME fixes the last piece of covering onto THREEPIO. PADME There! PADME stands back. OWEN is with her. They look at THREEPIO. He is n't the golden figure we know because PADME has had to use whatever stuff she could findin the garage. He is multi - coloured in several textures, but he is complete. C-3PO Um. How do I look? OWEN Great! You look perfect. C-3PO Perfect? Oh, Miss Padme, I'm so happy! -LRB- extending his hand to shake hers. -RRB- Oh, pardon me. THREEPIO drops his hand and bows formally. THREEPIO -LRB- continuing. -RRB- Thank you. He forgets formality and hugs her. PADME hugs him back, laughing. C-3PO -LRB- continuing. -RRB- Thank you! Thank you! Thank you! OWEN -LRB- grinning. -RRB- Well, Padme, I think he should be yours from now on. I know that is what my Mom would want. C-3PO Oh, my! Then suddenly, from outside : BERU -LRB- V.O. -RRB- Come topside, everybody! He's back! He's back! PAGE 83 PAGE 84 PAGE 85 PAGE 86 PAGE 87 PAGE 88", "INT. TATOOINE, HOMESTEAD, GARAGE - DAY A rough hologram of OBI - WAN is projected onto the garage by ARTOO. ANAKIN, PADME and THREEPIO watch the flickering image. OBI-WAN Alliance have pledged their armies to Count Dooku and are forming an. Wait! ah. attack. I do n't. make it. aaaggghhh! The hologram cuts off. ANAKIN jumps up, agitated. ANAKIN I'm going after him! PADME I thought the first thing he said was to retransmit his message to Coruscant. ANAKIN Yeah, you're right, you're right.", "EXT. TATOOINE, HOMESTEAD, MOISTURE FARM - LATE DAY ANAKIN, PADME, ARTOO and THREEPIO leave the homestead, waving to CLIEGG, OWEN and BERU as they go into the desert.", "INT. COCKPIT, NABOO STARSHIP - SUNSET ANAKIN sits down in the cockpit with PADME. THREEPIO is behind them. ARTOO is beside him. They are watching a hologram of MACE WINDU. MACE WINDU We will deal with Count Dooku. The most important thing for you, Anakin, is to stay where you are. Protect the Senator at all costs. That is your priority. ANAKIN Understood, Master. The hologram switches off. PADME is looking at the readout on the ship's control panel. PADME They'll never get there in time to save him. They have to come half way across the galaxy. Look, Geonosis is less than a parsec away. PADME starts to hit buttons and flick switches. ANAKIN puts a hand over hers, stopping her. She stares at him. ANAKIN If he's still alive. PADME Annie, are you just going to sit here and let him die? He's your friend. your mentor. ANAKIN He's like my father, but you heard Master Windu. He gave me strict orders to stay here. PADME He gave you strict orders to protect me. PADME pulls her hand free and flicks more switches. The engines fire. PADME -LRB- continuing. -RRB-. and I'm going to save Obi - Wan. So if you plan to protect me, you will have to come along. ANAKIN grins and takes the controls.", "EXT. TATOOINE, BLUFF OVERLOOKING HOMESTEAD - SUNSET The Naboo Starship rises from the bluff and zooms away.", "EXT. CORUSCANT, JEDI TEMPLE - DAY TWO HUNDRED JEDI KNIGHTS are assembling outside the huge center of the Jedi Order.", "INT. CORUSCANT, JEDI TEMPLE, COUNCIL CHAMBER - DAY The JEDI COUNCIL are assembled as MACE WINDU makes his plea. MACE WINDU The longer we wait, the stronger Dooku's armies become. We can not wait for the Senate to make up its mind about granting the Chancellor emergency powers, in order to be able to use that clone army. We have the authority to go now. We must go now. All of the JEDI COUNCIL nod their approval. YODA Agreed, Master Windu. Two hundred Jedi send. Enough, let's hope they are.", "INT. CORUSCANT, MAIN SENATE CHAMBER - DAY Inside the great rotunda, the UPROAR is even louder. Opposing SENATOES yell furiously at one another. MAS AMEDDA Order! Order! Finally, the uproar dies. PALPATINE In the regrettable absence of Senator Amidala, the chair recognises Senior Representative of Naboo, Jar Jar Binks. Amid the conflicting storm of CHEERS AND BOOS, JAR JAR, with TWO GUNGAN AIDES, floats on his pod to the middle of the vast space. He looks at PALPATINE nervously. PALPATINE nods. JAR JAR clears his throat. JAR JAR Senators, dellow felagates. Laughter. Jeers. JAR JAR blushes. MAS AMEDDA Order! The Senate will accord the Representative the courtesy of a hearing! Comparative quiet. JAR JAR grips the edge of the podium. JAR JAR In response to the direct threat to the Republic from the Confederacy of Independent Systems, I propose that the Senate gives immediate emergency powers to the Supreme Chancellor. Uproar. JAR JAR looks a little sheepish. JAR JAR -LRB- continuing. -RRB- Who can deny these are exceptional times? Exceptional times demand exceptional measures! Exceptional measures demand exceptional men! ORN FREE TAA We wo n't support a dictator. SHOUTS of agreement. JAR JAR That is the sentiment every one of us agrees with! And when the shadow of war has dispersed and the bright day of liberty has dawned once again, the power we now give to the Supreme Chancellor will be gladly, and swiftly returned. Out ancient liberties will be restored to us, burnished even more brightly than before! Brief silence, then a rolling wave of APPLAUSE. JAR JAR beams and bows. PALPATINE rises. PALPATINE It is with great reluctance that I have agreed to this calling. I love democracy. I love the Republic. The fact that this crisis is demanding I be given absolute power to tule over you is evident. But I am mild by nature and have no desire to destroy the democratic process. The power you give me I will lay down when this crisis has abated, I promise you. And all I ask in return is when my current term of office is over, you allow me to reture and live out my life in peace. MAS AMEDDA We shall proceed to the vote. All those in favor of granting emergency powers to the Supreme Chancellor, signal ate at this time. those opposed?", "EXT. SPACE The Naboo Starship heads toward the rings of Geonosis.", "EXT. GEONOSIS, LANDING AREA The Naboo Starship lands.", "INT. COCKPIT, NAOO STARFIGHTER - DAY ANAKIN switches off the engines. ARTOO and THREEPIO are in the navigation area of the cockpit. PADME is in the co - pilot's seat. She gets up. ANAKIN Hey, where are you going? PADME To find Obi - Wan. ANAKIN gets up and goes over to her. ANAKIN No! You're not! He grabs her arm. PADME Let go of me! ANAKIN I'm not letting you go out there. It's too dangerous. PADMÉ What?!? ANAKIN It's my job to protect you. I said it's too dangerous. You're not going, and that's final! PADMÉ Do n't you give me orders, Annie! I'm a Senator of the Galactic Republic. You have no authority to contain me, restrain me, or direct me! You remember your place, young man. -LRB- standing up. -RRB- Now you can come along and protect me or stay here. It's up to you. PADME storms out of the cockpit of the Naboo Starfighter. ANAKIN stands scratching his head, then follows. ARTOO BEEPS and WHISTLES. C-3PO Yes, it is, Artoo. Most confusing. One moment they're generating a pleasant mutual attraction and the next, waves of violent hostility. Even though I'm programmed to understand them, I doubt if I ever shall. ARTOO WHISTLES a plaintive sigh.", "INT. GEONOSIS, CORRIDORS - DAY ANAKIN and PADME enter the stalagmite city. They stop, looking around in wonder at the emptiness. PADME -LRB- in a low voice. -RRB- It's empty! They start forward. As they pass, the surface of the pillars seems to pulse slowly and move. High above WINGED CREATURES grow from the pillars and detach themselves.", "INT. GEONOSIS, CENTRAL SQUARE - DAY ANAKIN and PADME cross the square, reaching the middle. They stop suddenly as FOUR GEONOSIANS grabs them. ANAKIN reaches for his lightsaber. PADME Wait! TWENTY WINGED GEONOSIANS carrying weapons alight on the flagstones in front of them. The GEONOSIANS part, and COUNT DOOKU appears. He bows courteously. COUNT DOOKU Senator Amidala, I've heard so much about you. PADMÉ Count Dooku, I assume. COUNT DOOKU I'm delighted to meet you at last. We have a great deal to discuss, Senator. I hope you can keep your young Jedi under control. PADMÉ Do n't worry he's housebroken.", "INT. CONFERENCE ROOM (GEONOSIS) - DAY COUNT DOOKU sits at a large conference table with PADME on the far side. ANAKIN stands behind her with FOUR GEONOSIANS GUARDS standing behind him. JANGO FETT stands behind COUNT DOOKU, and SIX GEONOSIAN GUARDS stand behind him. PADMÉ You are holding a Jedi Knight, Obi - Wan Kenobi. I am formally requesting you turn him over to me, now. DOOKU He has been convicted of espionage, Senator, and will be executed. In just a few hours, I believe. COUNT DOOKU smiles. PADMÉ He is an officer of the Republic. You ca n't do that. DOOKU We do n't recognise the Republic here, Senator. But if Naboo were to join our Alliance, I could easily hear your plea for clemency. ANAKIN grabs his lightsaber but does n't turn it on. PADMÉ And if I do n't join your rebellion, I assume this Jedi with me will also die? DOOKU I do n't wish to make you to join our cause against your will, Senator, but you are a rational, honest representative of your people and I assume you want to do what's in their best interest. Are n't you fed up with the corruption, the bureaucrats, the hypocrisy of it all? Are n't you? Be honest, Senator. PADMÉ The ideals are still alive, Count, even if the institution is failing. DOOKU You believe in the same ideals we believe in! The same ideals we are striving to make prominent. PADMÉ If what you say is true, you should stay in the Republic and help Chancellor Palpatine put things right. DOOKU The Chancellor means well, M'Lady but he is incompetent. He has promised to cut the bureaucracy, but the bureaucrats are stronger than ever, no? Senator, the Republic can not be fixed. It is time to start over. The democratic process in the Republic is a sham, a shell game played on the voters. It will not be long before the cult of greed, called the Republic, will lose even the pretext of democracy and freedom. PADMÉ I can not believe that. I will not forsake all I have honoured and worked for and betray the Republic. I know of your treaties with the Trade Federation, the Commerce Guilds, and the others, Count. What is happening here is not government that has been bought out by business. it's business becoming government! DOOKU Are you willing to betray your Jedi friends? Without your co - operation I can do nothing to stop their execution. PADMÉ What is to happen to me? Am I to be executed also? DOOKU I would n't think of such an offence. But, there are individuals who have a strong interest in your demise, M'lady. It has nothing to do with politics, I'm afraid. It's purely personal, and they have already paid great sums to have you assassinated. I'm sure they will push hard to have you included in the executions. I'm sorry but if you are not going to co - operate, I must turn you over to the Geonosians for justice. I've done all I can for you. JANGO FETT moves over to ANAKIN. JANGO FETT I'll take that weapon. ANAKIN hesitates. DOOKU You may cause a lot of bloodshed, my young Jedi, but you will not escape. PADMÉ Anakin. ANAKIN hands his lightsaber over to JANGO FETT.", "INT. GEONOSIS, HIGH AUDIENCE CHAMBER - DAY ANAKIN and PADME are standing in the centre of what looks like a courtroom. Seated before them in a tall, boxed - off area is POGGLE THE LESSER, Archduke of Geonosis. He is accompanied by his underling, SUN RIT. Off to one side the Separatist Senators PO NUDU, TESSEK, and TOONBUCK TOORA. Next to them are the Commerce Dignitaries, SHU MAI, NUTE GUNRAY, PASSEL ARGENTE, WAT TAMBOR and SAN HILL of the Intergalactic Bank Clan. Along the wall about a HUNDRED GEONOSIANS wait for a verdict. SUN RIT You have been charged and found guilty of Espionage. POGGLE Do you have anything to say before your sentence is carried out? PADMÉ You are committing an act of war, Archduke. I hope you are prepared for the consequences. POGGLE laughs. COUNT DOOKU simply smiles. POGGLE We build weapons, Senator. that is our business! Of course we're prepared! NUTE GUNRAY Get on with it. Carry out the sentence. I want to see her suffer. POGGLE Your other Jedi friend is waiting for you, Senator. Take them to the arena! FOUR GUARDS take hold of PADME and ANAKIN. They are escorted out of the chamber to the sounds of chuckling.", "INT. GEONOSIS TUNNEL TO EXECUTION ARENA - DAY In the gloomy tunnel, ANAKIN and PADME are tossed into an open cart. The murmur of a vast crowd is heard offscreen. GUARDS extend their arms along the framework and tie them so that they stand facing each other. The DRIVER gets up onto his seat. ANAKIN Do n't be afraid. PADMÉ I'm not afraid to die. I've been dying a little bit each day since you came back into my life. ANAKIN What are you talking about? PADMÉ I love you. ANAKIN You love me?! I thought we decided not to fall in love. That we would be forced to live a lie. That it would destroy our lives. PADMÉ I think our lives are about to be destroyed anyway. My love for you is a puzzle, Annie, for which I have no answers. I ca n't control it. and now I do n't care. I truly, deeply love you, and before we die I want you to know. PADME leans toward ANAKIN. By straining hard, it is just possible for their lips to meet. They kiss. ANAKIN I have no desire to be cured of this love either. Long or short, I vow to spend the rest of my life with you. They kiss again. The DRIVER cracks his whip over the ORRAY harnessed between the shafts. The cart jerks forward. Suddenly, there isa HUGE ROAR and blinding sunlight as they emerge into the arena", "INT. GEONOSIS, EXECUTION ARENA - DAY The great stadium is packed with tier upon tier of yelling GEONOSIANS. The cart trundles to the center, where OBI - WAN is chained to one of four upright posts thatare three feet in diameter. The cart stops. PADME and ANAKIN are taken down, dragged to posts, and chained to them. PADME is in the center. OBI-WAN I was beginning to wonder if you had gotten my message. ANAKIN I retransmitted it as you requested, Master. Then we decided to come and rescue you. OBI-WAN It looks like you're going a good job so far. Their arms are pulled high above their heads, and the cart drives away. There is another ROAR as POGGLE THE LESSER, COUNT DOOKU, NUTE GUNRAY, THE FETTS and DIGNITARIES arrive in the archducal box and take their places. SUN RIT The felons before you have been convicted of espionage against the Sovereign System of Geonosis. Their sentence of death is to be carried out in this public arena henceforth. The crowd ROARS and CHEERS. In the box, POGGLE THE LESSER rises. The crowd becomes quiet. POGGLE Let the executions begin! The crowd goes wild. ANAKIN I have a bad feeling about this. From different gates around the arena, THREE MONSTERS are driven in. One is a REEK -LRB- bull - like -RRB-, one is a NEXU -LRB- lion - like -RRB-, and one is an ACKLAY -LRB- a kind of dino - lobster -RRB-. They are driven in by PICADORS carrying long spears and riding ORRAYS. The PICADORS poke the MONSTERS toward the center, then retire to the perimeter. The MONSTERS toss their heads, looking around, ROARING or SCREECHING. Then they catch sight of the THREE CAPTIVES and start moving toward them. OBI-WAN Take the one the left. I'll take the one on the right. ANAKIN What about Padme? PADME has turned around and is pulling herself up by the chain to the top of the post. Within a moment, she is standing on top of it, trying to pull the chain free. OBI-WAN It looks like she's already on top of things. The REEK charges ANAKIN. He jumps up, and the beast hits the post hard. ANAKIN lands onto its back, wrapping part of his chain around its horn. The REEK backs off, shaking its head angrily, which tears the chain from the post OBI - WAN ducks around the post as the ACKLAY charges. It knocks the post flat, sending OBI - WAN sprawling. The ACKLAY crunches the post between its claws, freeing the chain. OBI - WAN leaps up and runs towards ONE of the PICADORS. The ACKLAY taks off after him. The NEXU arrives at PADME'S post and rears on its hind legs. One top, PADME struggles to tear the chain free. The NEXU ROARS, displaying wicked, dripping fangs. In the archducal box, NUTE GUNRAY beams and rubs his hands. In the arena, OBI - WAN runs at the PICADOR. The ORRAY rears up. OBI - WAN grabs the PICADOR'S long spear and pole vaults over him. The chasing ACKLAY smashes into the ORRAY. It goes down. The PICADOR tumbles onto the sand, where he is grabbed by the ACKLAY and crunched. ANAKIN's REEK starts to buck. It charges around the arena with ANAKIN hanging on for dear life. He whirls the free length of chain around his head and casts it into the REEK's mouth. Its jaws clamp hard on the chain. ANAKIN yanks hard on the chain, turning the REEK, beginning to ride it. The NEXU's claws dig deep into the post. The cat - like creature reaches the top of the post and takes a swipe at PADME. She turns and the claw barely catches her shirt ripping it off, leaving superficial claw marks across her back. She hits the creature with her chain and it backs off down the pole. Then, PADME jumps off the post into the air. She swings around on the chain and whacks the beast hard on the head with both her feet. It tumbles back onto the sand. In the archducal box : NUTE GUNRAY Foul! She ca n't do that. shoot her or something! In the arena, OBI - WAN runs out from behind the fallen ORRAY and throws the spear at the ACKLAY, hitting it in the neck. It lets out a terrible SCREECH and turns on him. The NEXU springs up and makes to leap up at PADME again. She finally manages to work the chain loose. ANAKIN comes charging up on the REEK. ANAKIN You okay? PADME -LRB- nods, gasping. -RRB- Sure! Well, sort of. ANAKIN Jump! The NEXU springs. PADME leaps from the top of the post to land on the REEK in front of ANAKIN. He hauls her upright. The REEK charges away, around the arena. The NEXU bounds after it. The REEK passes the wounded ACKLAY. The NEXU smells the blood and turns aside to attack the ACKLAY. The TWO MONSTERS fight. The crowd GROANS and BOOS. In the archducal box, NUTE GUNRAY turns angrily to COUNT DOOKU. NUTE GUNRAY This is n't how it's supposed to be! Jango, finish her off. COUNT DOOKU motions for the bounty hunter to ptay put. BOBA FETT is enjoying the spectacle. COUNT DOOKU -LRB- smiling enigmatically. -RRB- Patiece, Viceroy. she will die. Maybe this is the way it's supposed to end. OBI - WAN runs and jumps on the back of the REEK behind ANAKIN. Across the arena, the NEXU, having chewed up the ACKLAY, starts to advance toward them.", "INT. COCKPIT, NABOO STARSHIP - DAY ARTOO BEEPS C-3PO Yes, it has been rather a long time. Do you suppose something's happened to them? ARTOO BEEPS and WHISTLES. C-3PO -LRB- continuing. -RRB- Danger? Oh no, I should n't think so. It looks a very dull planet to me. They should be back shortly. Just stop worrying, Artoo.", "EXT. GEONOSIS, EXECUTION ARENA - DAY In the archducal box, amid the uproar, COUNT DOOKU feels a tap on his shoulder. He turns to see MACE WINDU standing behind him. COUNT DOOKU masks his surprise elegantly as he surveys the arena and sees JEDI KNIGHTS standing at every entrance and exit. COUNT DOOKU Master Windu, how pleasant of you to join us. You're just in time for the moment of truth. I would think these two new boys of yours could use a little more training. MACE WINDU Sorry to disappoint you, Dooku. This party's over. MACE WINDU signals, and at stategic places around the arena there are sudden flashes of light as about ONE HUNDRED JEDI switch on their lightsabers. The crowd is suddenly silent. COUNT DOOKU'S lips curl in slight amusement. COUNT DOOKU -LRB- to Mace Windu. -RRB- Brave, but stupid, my old Jedi friend. You're impossibly outnumbered. MACE WINDU I do n't think so. One Jedi has to be worth a hundred Geonosians. COUNT DOOKU looks around the great theater. His smile grows. COUNT DOOKU It was n't the Geonosians I was thinking about. How well do you think one Jedi will hold up against a thousand battle droids? COUNT DOOKU signals. THOUSANDS OF DROIDS start to pour into all parts of the arena. MACE WINDU draws his lightsaber, JANGO FETT draws his guns and fires at MACE WINDU, who deflects the shots. JANGO FETT and MACE WINDU jump into the arena, where they fight. BOBA FETT wacthes his Dad and the Jedi Master fight. The battle beginss. GEONOSIANS fly away everywhere. DROIDS fire at JEDI, who deflect the bolts and cult down the DROIDS. The GEONOSIAN TROOPS fire ray guns that are more difficult for the JEDI to deflect. The REEK and the NEXU are spooked by the battle. The REEK bucks the riders off its back and stampedes around the arena, trampling DROIDS and JEDI that have moved into its path. PADME picks up a discarded pistol and joins the fight. SEVERAL JEDI run to the center of the arena and toss lightsabers to OBI - WAN and ANAKIN. Among the crowd, JEDI cut down swaths of GEONOSIANS and DROIDS. On the sand, JEDI fight, attacking DROIDS. OBI0WAN and ANAKIN swing their lightsabers, cutting DROIDS in half. PADME blasts away at DROIDS and GEONOSIANS.", "INT. COCKPIT, NABOO STARSHIP ARTOO whistles. C-3PO I do n't hear anything. -LRB- Artoo beeps. -RRB- You're scaring me! Stop imagining things!", "EXT. GEONOSIS, EXECUTION ARENA - DAY Among the tiers, JEDI are slowly being driven back. They have killed heaps of GEONOSIANS and have kncoked out piles of DROIDS, but sheer numbers are telling. Individual JEDI are being cut down or blasted / The rest are retreating into the arena. ANAKIN and PADME are back - to - back, fighting DROIDS and flying GEONOSIANS. MACE WINDU fights fiercely with JANGO FETT. Finally, the bounty hunter falls. His helmet goes flying, bouncing down the steps, tumbling and rolling, kicked here and there by random feet. The bounty hunter's body falls to the ground. MACE WINDU runs to the center of the arena and fights back - to - back with OBI - WAN, as they swipe and mangle DROIDS. OBI-WAN Someone's got to - shut down - these droids. MACE WINDU Do n't worry! It's being - taken care of!", "EXT. GEONOSIS, FEDERATION STARSHIP - DAY KI - ADI - MUNDI leads a raiding party of about TWENTY JEDI through the lines of parked Battle Starships. They cut a swath through masses of DROIDS until they arrive at the Command Starship. Some JEDI fall. The rest cut their way up the ramps and into the Command Ship.", "INT. COMMAND FEDERATION STARSHIP, CORRIDORS - DAY KI - ADI - MUNDI and teh surviving JEDI fight their way through the corridors of the Command Ship, deflecting laser bolts, slicing DROIDS.", "INT. COMMAND FEDERATION STARSHIP, CONTROL BRIDGE - DAY THEY burst onto the bridge and chop down the COMMAND DROIDS. The NEIMOIDIANS flee in all directions. KE - ADI - MUNDI leans over the control panel. He locates the illuminated master switch and punches down on it. It goes dark. Instantly, all the DROIDS on the Starship and all the DROIDS in the arena FREEZE! There is a moment of stunned silence, then the JEDI CHEER. One the bridge, PLO KOON claps KI - ADI - MUNDI on the back. PLO KOON We've done it! Now we have a chance! Suddenly, there is a harsh BEEPING SOUND. All the DROIDS on the Starship and all the DROIDS in the arena start fighting again! KI - ADI - MUNDI stares in disbelief and dismay. KI-ADI-MUNDI The system's off but they're still active. That's a new feature. They are independent of the control system.", "EXT. GEONOSIS, EXECUTION ARENA - DAY MACE WINDU, OBI - WAN, ANAKIN, PADME and an exhausted group of about TWENTY JEDI stand in the center of the arena surrounded by a ring of BATTLE DROIDS. The bloodied sand around them is strewn with the bodies of DEAD GEONOSIANS, SHATTERED DROIDS and JEDI. At the foot of some steps, BOBA FETT finds his father's battered helmet. He picks it up. KI - ADI - MUNDI and the SURVIVORS from the raiding party are herded into the arena by SUPERDROIDS. From the encircling tiers above, THOUSANDS OF BATTLE DROIDS level their weapons menacingly. In the archducal box, COUNT DOOKU lifts his hand. The DROIDS lower their weapons. The COUNT calls out to the JEDI. COUNT DOOKU Master Windu! Silence. COUNT DOOKU -LRB- continuing. -RRB- You have fought gallantly. Worthy of recognition in the history archives of the Jedi Order. Now it is finished. -LRB- pauses briefly. -RRB- Surrender - and your lives will be spared. MACE WINDU We will not be hostages for you to barter with Dooku. COUNT DOOKU Then, I'm sorry, old friend. You will have to be destroyed. The DROIDS raise their weapons. ANAKIN and PADME clasps hands tightly. COUNT DOOKU raises his hand to give the order to fire. PADME looks up suddenlt and whispers to ANAKIN. PADME Look! Above, six Gunships are descending fast through the open area in the arena ceiling. They land in a cluster around the handful of JEDI. CLONE TROOPERS spill out and start firing at the DROIDS. There is a hellstorm of laserfire that bounces off the laser shields created by the Gunships. YODA appears at the door of one of the Gunships. YODA Come on - hurry! Hurry! The SURVIVING JEDI dash to the Gunships and scramble in. MACE WINDU hangs on tight as the Gunship, firing all its weapons, rises out of the arena up and over the topmost rim.", "EXT. GEONOSIS, TERRAIN OUTSIDE EXECUTION ARENA - DAY The massed lines of parked Federation Starships and the DROIDS surrounding the arena, are themselves surrounded by thousands of Republic Starships, disgorging TENS OF THOUSANDS OF CLONE TROOPERS. Beyond, more Republic Starships are landing and spewing out troops.", "INT. GUNSHIP NUMBER ONE - DAY MACE WINDU stares at the incredible sight. YODA More battalions to the left. Encircle them we must, then divide. The CLONE TROOPERS open fire with artillery. EXPLOSIONS wreck the parked Battle Starships. CLONE TROOPERS advance, firing at the massed DROIDS. FIGHTER DROIDS fly overhead, exchanging fire with the Gunships and JEDI fighters.", "INT. COCKPIT, NABOO STARSHIP - DAY THREEPIO and ARTOO see flashes outside of the ship, exploding everywhere. C-3PO I'm sure I heard something, this time. Did n't you? It's probably just a celebration ARTOO lets out an EXHAUSTED BLEEP.", "EXT. BATTLEFIELD, GEONOSIS LANDSCAPE - DAY Gunship # 2 skims the battlefield, firing down, deflecting answering fire from the droids.", "INT. GUNSHIP NUMBER TWO - DAY OBI - WAN, ANAKIN and PADME are at the open sides of the Gunship. CLONES fire down at the DROIDS below. The Gunship slows, circling over a droid gun - emplacement. It blasts it, but suddenly the Gunship is rocked by a near miss. It lurches violently. OBI-WAN Hold on! Look over there. Through the other side of the Gunship, they see a Geonosian Speeder racing past. In the open cockpit is the unmistakable figure of COUNT DOOKU. ANAKIN It's Dooku, go after him! The PILOT starts to comply, but. there is a HUGE BLASTS, the ship lurches on its side, and PADME tumbles out. ANAKIN -LRB- continuing. -RRB- Padme! ANAKIN stares down in horror as PADME hits thr ground below. ANAKIN -LRB- continuing ; to pilot. -RRB- Put the ship down! Down! OBI-WAN No! Forget her. We have to go after Dooku. ANAKIN No we're not! Land this ship! OBI-WAN Do n't let your personal feelings get in the way. We've got a job to do. Below, PADME hauls herself to her feet and waves for them to go after DOOKU. ANAKIN I do n't care! Go back. OBI-WAN Anakin! She's all right! Look. ANAKIN stares out to see PADME rescued by CLONE TROOPERS. OBI-WAN -LRB- continuing. -RRB- Follow that speeder! On the ground, PADME looks up at Gunship # 2 as it speeds away after Count Dooku. OBI - WAN and ANAKIN follow the speeder to a Geonosian tower. The speeder decsends rapidly ; the Gunship follows. Count Dooku's speeder parks outside the tower ; the Gunship parks next to it. OBI - WAN and ANAKIN leap down and run inside the tower.", "INT. GEONOSIS, SECRET HANGER TOWER - LATE DAY COUNT DOOKU throws switches on a control panel. His Interstellar Sail Ship is guarded by a SQUAD OF SUPER BATTLE DROIDS. The doors of the exit - port slide open. DROID CAPTAIN Your Excellency! COUNT DOOKU turns as OBI - WAN and ANAKIN run in through the hanger doors. They draw their lightsabers. The DROIDS raise their weapons. COUNT DOOKU That wo n't be necessary, Captain. Stand down. And leave them to me. The DROIDS lower their weapons and back off to the walls. COUNT DOOKU looks at OBI - WAN and ANAKIN with slight amusement. OBI-WAN -LRB- to Anakin. -RRB- We move in together - you slowly on the. ANAKIN I'm taking him now! OBI-WAN Anakin, no! ANAKIN You'll pay for all the Jedi you've killed today, Dooku. ANAKIN charges across the open space at COUNT DOOKU, who smiles faintly, watching him come. ANAKIN raises his lightsaber. At the last moment, COUNT DOOKU thrusts out an arm, and ANAKIN is lifted up, hurled across the room, and slammed into the opposite wall. He slumps to the foot of the wall, semi - conscious. COUNT DOOKU moves toward OBI - WAN COUNT DOOKU Kenobi, is n't it? As you can see, my Jedi powers are far beyond yours. Now, back down. OBI-WAN I do n't think so. OBI - WAN lifts his lightsaber. COUNT DOOKU smiles. COUNT DOOKU Ah, but if I must. COUNT DOOKU draws his lightsaber. He and OBI - WAN start to circle each other. COUNT DOOKU -LRB- continuing. -RRB- I have spent the last ten years learning to use the power of the Dark Side. It gives me infinitely greater power. OBI-WAN You will have to prove it. OBI - WAN comes in fast, swinging at COUNT DOOKU'S head. DOOKU parries the cut easily. As they fight, it quickly becomes clear that DOOKU is the complete swordsman - elegant, graceful, classical - a master of the old style. COUNT DOOKU Grand Master Kenobi, you disappoint me. Yoda holds you in such high esteem. COUNT DOOKU parried another cut. COUNT DOOKU -LRB- continuing. -RRB- Surely you can do better? -LRB- parries. -RRB- No, I'm surprised. Has Jedi swordsmanship degenerated so quickly, or are you trying to make fun of me? -LRB- cuts. -RRB- Which is it? COUNT DOOKU thrusts. OBI - WAN steps back quickly, panting for breath. COUNT DOOKU -LRB- continuing. -RRB- come, come, Master Kenobi. Put me out of my misery. OBI - WAN takes a deep breath, gets a fresh grip on his lightsaber and comes in again. For a moment, he drives COUNT DOOKU back. Then Dooku's superior skill begins to tell again, and he forces OBI - WAN to retreat. COUNT DOOKU increases the tempo of his attack. OBI - WAN is pushed to the limit to defend himself. DOOKU presses. His lightsaber flashes. OBI - WAN is wounded in the shoulder, then the thigh. He stumbles back against the wall, trips, and falls. His lightsaber goes skittering across the floor. COUNT DOOKU raises his lightsaber. OBI - WAN looks up helplessly. Dooku's lightsaber flashes down and CLASHES against - Anakin's lightsaber! COUNT DOOKU and ANAKIN stare eyeball to eyeball. COUNT DOOKU -LRB- continuing. -RRB- That's brave of you, boy - but foolish. I would have thought you'd have learnt your lesson. ANAKIN I'm a slow learner. And ANAKIN charges at COUNT DOOKU. The force of his attack catches the Count slightly off balance. Anakin's lightsaber flashes. COUNT DOOKU draws back, putting a hand to his arm. He takes the hand away and looks at the smear of blood whee Anakin has nicked him. COUNT DOOKU You have unusual powers, young Padawan. But not enought to save you this time. ANAKIN Do n't bet on it! OBI-WAN Anakin! OBI - WAN uses the Force to catch his lightsaber and he tosses it to ANAKIN. With TWO LIGHTSABERS, ANAKIN attacks. COUNT DOOKU parries and ripostes. It is no contest. ANAKIN is driven back against the wall. He loses one lightsaber. Finally COUNT DOOKU, in one flashing move, sends Anakin's arm, cut at the elbow, flying still gripping his lightsaber. ANAKIN drops to the ground in agony. COUNT DOOKU draws himself up to deliver the coup de grace. Suddenly, the great doors slide open. The DROIDS turn fast, raising their weapons. Through the thick smoke, emerges the heroic figure of YODA. He stops on the smoke - filled threashold, FOUR DROIDS lined up on either side of him, guns pointed. Before the DROIDS can get off a shot, YODA raises his hand, and the DROIDS are flung against the far walls and crash to the floor in heaps of smoking metal. Silence. COUNT DOOKU steps away from ANAKIN to face the Jedi Grand Master. His lightsaber whirls in a formal salute. COUNT DOOKU Master Yoda. At last we shall know who is the most powerful. YODA draws a miniature lightsaber out of his cane. He salutes formally. YODA Count Dooku. No interest in contests, do I have. COUNT DOOKU charges across the space at YODA. He rains down blows upon the tiny figure. YODA does n't budge an inch. For the first part of the contest, he parries every cut and thrust that Dooku aims. Nothing the great swordsman tries gets through. His energy drains. His strokes become feebler, slower. YODA attacks! He flies forward. COUNT DOOKU is forced to retreat. Wprds are insufficient to describe the range and skill of Yoda's speed and swordplay. His lightsaber his a humming blur of light. Count Dooku's lightsaber is sent cartwheeling from his hand. He staggers back, gasping and spent, against the control panel. YODA jumps onto DOOKU'S shoulders, and is about to drive the lightsaber into the top of the Count's head. YODA -LRB- continuing. -RRB- The end for you, Count, this is. COUNT DOOKU Not yet. COUNT DOOKU raises his arms and knocks YODA off his shoulders and then, with all his might, he uses the Force to pull on one of the cranes in the hanger. It comes crashing down on OBI - WAN and ANAKIN. But in the blink of and eye, YODA is under the crane, holding it up, using the Force. YODA closes his eyes and concentrates. ANAKIN is unconscious, and OBI0WAN tries toget out from under the crane. The fallen crane trembles and starts to life. Behind it, the sound of the Sail Ship's engines are heard starting up. YODA concentrates harder. Slowly, the crane rises. The SOUND OF THE ENGINES increases. YODA exerts every scrap of his powers. The crane lifts clear of ANAKIN and is thrown to the ground. DOOKU'S Sail Ship takes off. OBI - WAN and ANAKIN struggle to the exhausted YODA, but it's too late. The Sail Ship rises into the air and flies away. PADMÉ and a CLONE CAPTAIN with about TEN TROOPERS appear in the doorway. PADMÉ Anakin! PADMÉ runs too him and throws her arms around him. ANAKIN is barely able to stand up. The CLONE CAPTAIN marches up to YODA, stops, and salutes smartly. CLONE CAPTAIN Resistance is at an end, General. What are your orders? YODA looks at him and sighs.", "EXT. CORUSCANT, OLD TOWN - DAWN COUNT DOOKU'S Interstellar Sail Ship glides through a deserted, burned - out part of Coruscant. COUNT DOOKU manoeuvres the ship into one of the empty buildings and lands.", "INT. CORUSCANT, SECRET LANDING PLATFORM - DAWN The ramp lowers. COUNT DOOKU emerges and walks to where the hooded figure of DARTH SIDIOUS stands waiting. COUNT DOOKU bows. COUNT DOOKU The Force is with us, my Master. DARTH SIDIOUS Welcome home, Lord Tyranus. You have done well. COUNT DOOKU I bring you good news, my Lord. The war has begun. DARTH SIDIOUS Excellent. -LRB- smiling. -RRB- Everything is going as planned.", "EXT. CORUSCANT, JEDI TEMPLE - SUNSET The beautiful temple basks in the red glow of the setting sun.", "INT. JEDI TEMPLE, COUNCIL CHAMBER - SUNSET MACE WINDU Where is your apprentice? OBI-WAN On his way back to Naboo. He is escorting Senator Amidala home. They are standing, looking out through the tall windows at the great plaza below. YODA sits in his chair. OBI-WAN -LRB- continuing. -RRB- I must admit without the clones, it would not have been a victory. YODA Victory? Victory, you say? OBI - WAN turns and looks at the sad little Jedi sitting in the Council Chamber. Apart from KI - ADI - MUNDI and PLO KOON, who is wounded, the Chamber is empty. YODA -LRB- continuing. -RRB- Not victory, a defeat, it was. Master Obi - Wan. Begun, the Clone War has!", "EXT. NABOO LAKE RETREAT, LODGE, GARDEN - LATE DAY In a rose - covered arbor overlooking the sparkling late, ANAKIN and PADME stand before a NABOO HOLY MAN. THREEPIO and ARTOO stand by, watching, as the HOLY MAN blesses the happy couple and, amid gently falling rose petals, ANAKIN and PADME kiss.", "EXT. CORUSCANT, MILITARY STAGING AREA, BALCONY - LATE DAY PALPATINE, JAR JAR, BAIL ORGANA and the OTHER SENATORS, with TWO ROYAL GUARDS, stand looking down at the square below. TENS OF THOUSANDS OF CLONE TROOPS are drawn up in a strict formation or move forwards in near files to climb the ramps of the Military Assault Ships. On the balcony, PALPATINE'S expression is deeply sad. Everyone watches comberly as, in the square, loaded Assault Ships take off. Other land immediately in their place. The sky above is thick with transports. CLONE TROOPS march and board the Ships. The Great Clone War has begun. THE END" ]

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[ "FLIGHTPLAN on KYLE SHERIN - who sits, numb.", "INT. SUBWAY - CHARLOTTENBURG STATION - NIGHT She's 35, pretty in a glamourless way. If you'd met her six days ago you would have found her bright, focused, together. But that was then. Tonight she sits on a bench in a DESERTED SUBWAY STATION, with a thousand - mile stare in her eyes. In the distance we hear an approaching SUBWAY TRAIN. The train grows louder, pulling towards this platform now, screeching noisily. Then it stops. A PRE - RECORDED voice tells us, in German, that this is Charlottenburg. The train sits. But Kyle does n't rise, does n't react at all. Staring, until : DAVID -LRB- O.S. -RRB- Honey? She turns. DAVID SHERIN stands a foot away. He's forty, handsome, kind. Her husband. She smiles, comforted. KYLE Oh. He extends a hand to her, leads her to the train. She's carrying an umbrella. They board, the train's only passengers. Must be late night. The doors shut. The train pulls away. We FOLLOW IT into darkness. as we BEGIN INTERCUT : INTERCUT WITH/INT. BERLIN MORTUARY - EVENING -LRB- FLASHBACK -RRB- We're over Kyle's shoulder as she enters the Viewing Room of a MORTUARY. A grim - looking MORTUARY DIRECTOR awaits. Beside the Mortuary Director is an open casket. We do n't see yet who's inside. Kyle stands stiffly, eyeing that CASKET from across the room, her face a mixture of pain and dread. In her hand is that same umbrella. MORTUARY DIRECTOR Frau Sherin? INTERCUT WITH/INT. SAVIGNYPLATZ STATION - NIGHT Doors HISS shut. The train pulls away, leaving David and Kyle in this otherwise empty station. It's subterranean, vast. Looks like an Escher etching. David and Kyle climb stairs, disappearing from view. We hear their footsteps trail off. CONTINUE INTERCUT :", "INT. MORTUARY - EVENING - (RESUMING FLASHBACK) Kyle stands with that Mortuary Director - and the casket. MORTUARY DIRECTOR -LRB- in German. -RRB- Would you like a moment of privacy. before the casket is sealed? That threw her. But she thinks she's supposed to say yes, so : KYLE Okay. Mortuary Director nods, backing out, which leaves Kyle alone in here with the still - unseen body. CONTINUE INTERCUT :", "EXT. STREET - CHARLOTTENBURG, BERLIN - NIGHT Kyle's head rests on David's shoulder as they walk. It's a cold night ; steam fogs their breath. The 20's - style buildings around us glimmer with frost and ice. CONTINUE INTERCUT :", "INT. MORTUARY - EVENING - (RESUMING FLASHBACK) Kyle eyes her shoetops, the curtains. anything except what's inside that casket. until it's all just too much. She hurries to the door. CONTINUE INTERCUT :", "EXT. STREET - CHARLOTTENBURG - NIGHT Kyle and David's walk comes to an end at this APARTMENT BUILDING in Charlottenburg. David reaches for the door. But Kyle pauses, eyeing something : A row of large PLANTER POTS have been cemented into this street, to keep drivers from speeding. The pots are full of soil, with bare frozen trees rising from them. But one of the pots has been badly damaged. Chunks of it are missing, much of its soil too - as if something had smashed into it at high speed. Kyle eyes it. Then she glances up to this building's ROOFTOP, six stories above us. Quite a drop. CONTINUE INTERCUT :", "INT. MORTUARY - EVENING - (RESUMING FLASHBACK) Kyle opens the door. The Mortuary Director stands here. KYLE Danke. Mortuary Director takes that to mean `` I've said my goodbyes, thank you for the privacy.'' He nods. CONTINUE INTERCUT :", "INT. KYLE'S APT. BUILDING - LOBBY - NIGHT It's an old building, no elevator. David heads up the stairs. KYLE David? David turns. Kyle's at the door. KYLE -LRB- CONT'D. -RRB- Could we just. sit in the courtyard for a minute? Just a minute. David smiles warmly. Kyle seems so vulnerable tonight - denying her would be impossible. DAVID Sure.", "INT. MORTUARY - EVENING - (RESUMING FLASHBACK) Mortuary Director stands beside the open casket. MORTUARY DIRECTOR -LRB- IN GERMAN. -RRB- You need to enter your code now. KYLE -LRB- IN GERMAN. -RRB- Is that really necessary? MORTUARY DIRECTOR -LRB- IN GERMAN. -RRB- I'm afraid so. International Law forbids the repatriation of an unsecured casket.", "EXT. APARTMENT - COURTYARD - NIGHT Kyle and David step out to a COURTYARD which is surrounded on all sides by the six stories of this rectangular building. A bench sits out here. Behind it is a bare tree, home to a few blackbirds. David brushes some snow off the bench. Kyle's about to sit when a SOUND jars her : those BLACKBIRDS, flying noisily away. She watches them as they go.", "INT. MORTUARY - EVENING (RESUMING FLASHBACK) Kyle stands, immobile, as the Mortuary Director closes the casket, and we get our first glimpse of who's inside :. a 40 year - old man. David. His face heavily made - up. MORTUARY DIRECTOR -LRB- IN GERMAN. -RRB- We did all we could. But there was some trauma, to the head. Kyle tightens. The casket SHUTS. and David is gone.", "EXT. APARTMENT - COURTYARD - NIGHT Kyle stands, very much alone, that same umbrella in her hand. No company. No David. A single set of footprints in the snow lead to this bench. Her eyes begin to moisten, but it might be from the stinging cold - hard to say. She shuts them. CONTINUE INTERCUT :", "INT. MORTUARY - EVENING - (RESUMING FLASHBACK) There's an ELECTRONIC LOCK on the now - closed CASKET, awaiting input from her. It's blinking green. MORTUARY DIRECTOR Your code, bitte. Kyle shakes her head, making herself function. enters six digits into the electronic lock. until the lock blinks red. END INTERCUT.", "INT. KYLE'S APARTMENT - LIVING ROOM - NIGHT Darkness, pierced by a single lamp. We see MOVING BOXES, lots of them, in rows on a Living Room floor. High ceilings, large radiators beneath the windows, hardwood underfoot. and ten huge FLORAL ARRANGEMENTS, relegated to a corner. And an answering machine with `` 27 Messages'' on it.", "INT. KYLE'S APT. ENTRY/FRONT DOOR - SAME (NIGHT) A woman lingers by the front door, tears in her eyes. She is KAROLINA - 50, Polish, a nanny. Kyle is a few feet away. The feeling could n't be more somber. KYLE It's not impossible, Karolina. I've already made a few calls. KAROLINA Thank you. KYLE There are working Visas. The State Department issues them. Karolina tries to smile, but she clearly believes that this is the last time she'll ever see Kyle again. KYLE -LRB- CONT'D. -RRB- She's so attached to you. Karolina sniffs back a tear. KAROLINA I am. I'm so sorry. I. KYLE I can reach you at your brother's, right? Karolina nods. The moment hangs. She steps out. KAROLINA Please. Try to sleep tonight. Their eyes lock. Kyle smiles thinly. Karolina goes. Kyle pauses a moment, then shuts the door.", "INT. KYLE'S APARTMENT - DEN - LATER NIGHT This was an office just a few days ago. A desk is strewn with files, notepads, books - all of it regarding Rudyard Kipling. Five boxes marked `` David's Research'' wait. But they're empty. Kyle sits on the floor, her back against a bare wall. wearing that thousand - mile stare again. Just ca n't move. JULIA -LRB- O.S. -RRB- Mommy? That was the voice of a little girl. Kyle does n't react. JULIA -LRB- O.S., CONT'D. -RRB- Mommy? Now Kyle turns, as if awakening from a dream. JULIA, 4, stands in the doorway, wearing pajamas. In her hand is a one - armed chenille teddy - bear named Harry. JULIA -LRB- CONT'D. -RRB- Everything's in boxes. Kyle tries to smile, but the effort is obvious. JULIA -LRB- CONT'D. -RRB- Is Daddy in one of them? That cut right through Kyle. KYLE No, sweetheart.", "INT. KYLE'S APARTMENT - JULIA'S BEDROOM - LATER NIGHT Kyle, still dressed, lies beside Julia as the child sleeps. A carousel - nightlight throws moving reflections across the walls : horses and cows and cherubs, chasing one another against pale blue wallpaper. Kyle, wide awake, eyes them. More MOVING BOXES in here. Everything has been packed except an outfit for tomorrow : -LRB- jacket, tights, boots, etc. -RRB- The curtains are open. Kyle rises, careful not to awaken Julia, and crosses to them. She reaches for the curtains, then notices something, through the window : TWO MEN, visible across this building's courtyard. They seem to be looking from their third story window into this one. They're Middle - Eastern. Persian. Maybe Turkish - but staring right at us. Kyle shuts the curtains. A beat. She turns to go, then turns back - just has to look through those curtains again. She peeks out. Shutters have now been drawn where the Persian - looking men were standing only seconds ago. Odd.", "INT. KYLE'S APARTMENT - MASTER BATHROOM - CONTINUING Kyle turns on a light, and crosses to a tiny make - up bag on the counter. She opens it, and pulls out a bottle of PRESCRIPTION PILLS. Klonepin. For anxiety. She swallows two and leaves without looking in the mirror.", "INT. KYLE'S APARTMENT - LIVING ROOM - NEXT DAY - (3 P.M.) The apartment's empty. Sheets cover pieces of furniture. Those floral arrangements remain unclaimed on the floor. We hear the sounds of a WINTER STORM outside. Whipping wind.", "INT. JULIA'S ROOM - SAME Stripped bed, bare dressed, nothing else. The boxes are gone.", "INT. DAVID'S OFFICE - SAME `` David's Research'' remains unpacked, the boxes empty. Through the window we now see the WINTER STORM raging out there.", "INT. KYLE'S APARTMENT BUILDING - STAIRS - SAME (3 P.M.) Kyle, bundled for weather, trudges down stairs carrying THREE HUGE SUITCASES, heavy as hell. Her eyes are red from lack of sleep ; her head feels foggy. Behind her we hear a sound : THUMP, THUMP, THUMP - its source unknown to us. Kyle continues on, almost sleepwalking.", "INT. KYLE'S APT. BLDG. - SECOND FLOOR LANDING - CONTINUING She hits a TIMER SWITCH on a hallway light. It brightens. Again we hear the THUMP, THUMP, THUMP. Kyle turns. as Julia rounds a corner, half a flight of steps above Kyle, emerging from shadow. Julia is carrying her BACKPACK, which is hitting each step. Hence the thump, thump, thump. KYLE Doin' okay, Jules? Julia mumbles an `` uh - huh.'' KYLE -LRB- CONT'D. -RRB- Almost there, Sweetheart.", "INT. KYLE'S APARTMENT BUILDING - LOBBY - MOMENTS LATER At last, they're down the steps. Kyle releases the suitcases ; feeling her arms relax. Julia reaches the last step and drops her pack, sighing exaggeratedly. Kyle finds that pretty cute. Kyle turns, heads for the door, but : JULIA Mommy? Kyle looks back, and realizes that Julia is n't following. The kid has frozen in her tracks, right by the stairs. JULIA -LRB- CONT'D. -RRB- I do n't wan na go out there. We ca n't tell what's scaring Julia so. Through lobby doors we see that huge SNOWSTORM. And a waiting car. And a DRIVER. And that badly - damaged PLANTER POT. Kyle's eyes soften. KYLE It's okay, Honey. I promise. JULIA I do n't wan na go out there. I'm scared. Kyle pauses, eyeing her little girl. KYLE What if I hid you? Would that be okay? -LRB- Julia does n't understand. -RRB- On my shoulder, under my coat. JULIA The whole way? KYLE Whole way. Julia thinks about it. then nods.", "EXT. KYLE'S STREET - HIGH ANGLE - CONTINUING We are across the street, at rooftop height, as Kyle carries Julia, hidden under that overcoat, to the car. The buildings on this block surround them like walls in a room.", "INT. THE CAR - CONTINUING Kyle straps Julia into a CARSEAT. Behind them, their Driver shuts the trunk. KYLE Hey, look what I brought. Kyle pulls two GROOVY GIRL DOLLS from her bag. KYLE -LRB- CONT'D. -RRB- They're your favorite ones, right? JULIA They're okay. Kyle shrugs, humbled. The Driver starts the car ; it pulls away. Kyle's head turns as that cracked PLANTER POT passes by, almost close enough to touch. FADE TO BLACK. and come back in on a HIGH - ANGLE of the Berlin Airport.", "EXT. BERLIN AIRPORT - HIGH ANGLE - ESTABLISHING Dense clouds, heavy snow. and not a single flight taking off or landing. From up here the stillness almost makes the airport look like a photograph.", "INT. BERLIN AIRPORT - TERMINAL - 4 P.M. We're tight on a HUGE BOARD listing DEPARTURES and ARRIVALS. Every listed flight has been delayed or cancelled. Kyle stares at the board. Her PAN - WORLD flight to JFK has been pushed until 7 p.m.. That worries her. Around her we see frazzled travellers, long lines, swelling counters - and all of it watched over by SOLDIERS, armed and grim. Welcome to Post 9/11 travel. A LADY passes by, carrying a LEASH. At the other end of the leash is not a dog but her two CHILDREN. That gets Kyle's attention. She turns, to point it out to Julia. But Julia's not beside her. KYLE Julia? Kyle swivels quickly, eyes darting. She sees strangers, couples, foreigners, adults. But nobody kid - sized. Travellers pass by her, obscuring her view. A small panic flutters through her. She turns again : There's Julia, over by a MAGAZINE/SUNDRIES STAND, staring at a rack of candy, holding Harry the one - armed teddy - bear. Kyle lets out a sigh, surprised by how panicked she'd felt.", "INT. BERLIN TERMINAL - MAGAZINE STAND - CONTINUING Kyle hurries over, pushing the `` Smart - Cart'' bearing her three huge suitcases. KYLE -LRB- firmly. -RRB- Julia. Julia turns, recognizing the `` mad'' tone in Kyle's voice. KYLE -LRB- CONT'D. -RRB- What'd I tell you about wandering away from me in a public place? JULIA I was hungry. KYLE Does n't matter. You scared me to de -. -LRB- stops herself. -RRB- You got me really worried. JULIA Sorry, mom. She meant it. Kyle softens. KYLE It's okay. What kinda snack do you want?", "INT. AIRPORT - BAGGAGE HANDLING - 5 P.M. Darkness. A rattling sound. Then we emerge into light. as Kyle's THREE SUITCASES come off a conveyor belt. A TURKISH BAGGAGE WORKER puts them on another belt, heading for an X - RAY MACHINE. -LRB- Every piece passes through it. -RRB- More soldiers patrol down here. Bomb - sniffing DOGS too.", "INT. TERMINAL - APPROACHING METAL DETECTOR - 5 P.M. Kyle stands, bleary - eyed, in a line approaching a METAL DETECTOR. Beside her, Julia eats a muesli bar and sips some juice, her BACKPACK on her back. The chatter around them is about cancelled flights, airport closures, weather. And security, of course. Kyle's eyes close, for just a second. She shakes herself awake again. Above is another DEPARTURES/ARRIVALS board : Pan World 83 to JFK just got pushed again. 7:30 p.m. Shit. They reach the front of the line.", "INT. TERMINAL - AT THE METAL DETECTOR - CONTINUING Julia's got that backpack. Kyle has a soft - sided computer bag, and their bag of snacks from that sundries stand. KYLE -LRB- CONT'D. -RRB- Put your bag on the belt, Honey. -LRB- Julia hesitates. -RRB- Do n't worry. It'll come out the other side. Mommy's bag goes through too. Julia will send the backpack through, but not with Harry inside. She pulls the bear out. Kyle looks to the METAL DETECTOR GUARD : `` Is it okay?'' The Guard shrugs. Julia passes through. No beep. She kisses Harry, then notices the TV - sized X - RAY MONITOR on which she can see the x - ray of her own backpack. Pretty neat. METAL DETECTOR GUARD #2 -LRB- IN GERMAN. -RRB- Please turn on any electrical devices. Kyle nods, opens up her carry - on. Inside is her LAP - TOP. But she's also got her overcoat, and a pullover. And all of Julia's cold - weather gear. This might take a minute or two. KYLE Stay where I can see you, Jules. Behind Kyle is a SENEGALESE WOMAN, roughly sixty, waiting patiently with a small child. KYLE -LRB- IN GERMAN. -RRB- -LRB- to Senegalese Lady. -RRB- You can go ahead, if you want. The Senegalese Woman smiles, nodding to the CHILD to go ahead. They pass toward the metal detector as Kyle steps aside, turning on her lap - top for the Guard. The Guard nods, satisfied. Kyle shuts down her lap - top, sends her carry - on through, and passes through the metal detector. where she BEEPS. Great. METAL DETECTOR GUARD #1 -LRB- IN GERMAN. -RRB- This way, please. Kyle looks to Julia, who remains transfixed by the x - ray screen. Kyle heads for a row of chairs nearby. KYLE It's just a second, Honey. They have to check something. Julia shrugs, happily watching the x - ray of another carry - on bag as it passes through. METAL DETECTOR GUARD #1 Shoes off, please. The inspection begins, that Guard's WAND being waved over Kyle and all her clothing. She slips out of her shoes. To Kyle's right are TWO LIBYAN MEN, also being searched. The GUARDS seem a bit more curious about these guys.", "INT. TERMINAL - DEPARTURE GATE - 7:15 P.M. Kyle stands at a window. Outside, framed by the blowing snow, is an AIRJET : an enormous beast, bigger by far than a 747. Various tarmac vehicles service it, dwarfed by its size. JULIA -LRB- O.S. -RRB- It's so big. Julia's by Kyle's side, her nose pressed against the glass. KYLE The biggest. JULIA What kind is it, mom? KYLE An Airjet. Brand new. JULIA Did you make it? KYLE Just some of its systems. Then Julia sees something that makes her four year - old eyes go wide : two GROUNDS CREW GUYS on the wing of this giant plane, fueling it. They're 30 feet off the ground. JULIA What if they fall? KYLE Do n't worry. They're not gon na fall. JULIA But they could. Kyle gets the inference. She squeezes Julia's hand. Then she hears a P.A. VOICE behind them announcing that it's PRE - BOARDING TIME. `` Passagiere mit Kleinkindern,'' etc.. KYLE That's us. Got your ticket? -LRB- Julia taps her backpack. -RRB- Let's go. They head for the jetway, a few passengers ahead of them.", "INT. AIRJET - MAIN DECK - LEFT AISLE - NIGHT We're tight on a `` Welcome to Airjet!'' video. In it, faces of every ethnicity morph into one another as they tell us about the multi - national teamwork that made this plane possible. `` Enjoy your flight'' in 25 different languages. We PULL BACK. taking in the 370 seats on this Main Deck, all EMPTY now. The Airjet is a monster. Unfueled it weighs 626,000 pounds. 17 galleys. 17 lavatories. Huge. Vast. With that `` welcome to Airjet!'' Video playing on every seatback. and we've only seen half of it yet. We CRANE UP. through the ceiling of the Main Deck, into :", "INT. AIRJET - UPPER DECK - LEFT AISLE - CONTINUING now we're in the UPPER DECK, which boasts another 210 seats : 96 Business, 114 Coach - all of them EMPTY, all of them playing that same `` Welcome to Airjet!'' video. We PUSH IN. as Kyle emerges from a STAIRWAY connecting the two decks, with Julia over her shoulder. They're the first two passengers to board. It's like being the only two people in the Superdome. Kyle finds Row 24, and gestures to 24A, the window seat. KYLE That's your seat, Sweetie. Julia slips into it, dwarfed by it, as Kyle pulls items from Julia's BACKPACK : the muesli, the orange juice carton, some Dr. Seuss books, the Groovy - Girls dolls. Then, thinking better of it, Kyle puts the dolls back into the backpack, and throws the backpack into the overhead bin, beside her own carry - on. Other voices begin to filter in now - more families with children. The voices of one family grow nearer to us : APPROACHING BOY I'm taking the window. APPROACHING GIRL I'm taking it. That's a ten year - old American kid and his sister, who are on their way down this aisle, parents in tow. They continue : APPROACHING BOY Dad said. APPROACHING GIRL Did not. He said you had the aisle. APPROACHING BOY Shut up. APPROACHING GIRL You shut up. THEIR FATHER Both of you shut up! Let's call this bunch the LOUD FAMILY. The boy is named RHETT. His eight year - old sister is BRITTANY. Mom and Dad will be known to us as MR. and MRS. LOUD. Kyle, seated in 24B now, eyes the Lauds as they near us. RHETT -LRB- `` APPROACHING BOY''. -RRB- I had the middle the whole way here. BRITTANY -LRB- `` APPROACHING GIRL''. -RRB- Did not. We switched over Greenland. MRS. LOUD Bobbbb. MR. LOUD Awright, kids. You heard your mom. Meanwhile, Julia spots something on the floor, something shiny - it's a kid's TOY, an airplane, three inches long. Julia slips out of her seat and grabs it, as : RHETT You do n't even know where Greenland is. BRITTANY Dadddddd. Maybe they'll go right past us. Ten rows away would be nice. MR. LOUD Okay. We're Row 23. Now how're we gon na work this out? Rhett dives for the window seat in Row 23, directly in front of Julia's seat. BRITTANY Daddddddd! MR. LOUD That's nice, Rhett. Very big - brotherly of you. RHETT Why's she get everything all the time? Eight hours with this bunch. Great. The Louds settle in. Kyle looks down at Julia, who remains on the floor, playing with that toy airplane now : KYLE Want some juice, Sweetie? JULIA No, thanks. Kyle sits back, sighs. We're on board. We're leaving Berlin. It's going to be okay.", "INT. AIRJET - MAIN DECK - MINUTES LATER 280 PASSENGERS are on this deck now : Germans, Czechs, Poles, Americans, Asians, settling in. The back five rows are empty.", "INT. AIRJET - UPPER DECK - ROW 24 - SAME There are roughly 120 PEOPLE filling this deck's 210 seats, leaving the back ten rows of this deck completely EMPTY. The TWO LIBYAN MEN Kyle saw at the metal detector settle into Row 17. Two other MIDDLE - EASTERN MEN take seats in Row 16. Kyle notices them, then judges herself for doing so. Julia is still at Kyle's feet, having made a `` FORT'' down here from a blanket and two pillows. She plays with her bear and that little toy airplane. One row up, Rhett and Brittany begin SLAPPING EACH OTHER with their in - flight magazines. BRITTANY Stop it! RHETT I'm not doing anything. MRS. LOUD Bob. MR. LOUD -LRB- at the kids. -RRB- Have a heart, okay? You know how Mom feels about airplanes. A beat. They look pretty sheepish. RHETT/BRITTANY Sorry, Mom. 24C, beside Kyle, remains empty. Across the aisle, seat 24 - D is also empty, but one row back, in 25 - D, is a stocky guy in an ugly sweater. This is GENE CARSON, 45, American. Carson eyes the Loud kids, then waves over a Flight Attendant -LRB- STEFAN, 28, German. -RRB- CARSON Got two questions for you : What're the movies? And how loud do these headphones go? That was Carson's way of joking with Kyle about the nightmare family in the next row. Kyle grins, getting it. STEFAN Never quite loud enough. Stefan continues down the aisle. just as Rhett gets one last slap in on Brittany. Carson sighs. looks to Kyle. CARSON Those back rows are starting to look pretty attractive. Kyle breathes out a smile, noting the ten empty rows.", "INT. AIRJET - UPPER DECK - COACH GALLEY #1 - SAME Stefan enters, greeting MIKE, ESTELLA, and FIONA - three more Flight Attendants. STEFAN Could be some high - maintenance in Row 23. ESTELLA I heard them. MIKE The people two planes away heard them. Knowing laughs all around. but Fiona's smile is a bit thin. MIKE -LRB- CONT'D. -RRB- -LRB- re : Fiona. -RRB- Hey. Somebody tell the new kid - it's okay to laugh about the passengers. ESTELLA Honey, it's okay to hate the passengers. The Flight Attendants laugh. Estella nudges Fiona and she relaxes a bit, laughing.", "INT. AIRJET - FLIGHT DECK - SAME Captain MARCUS RICH, -LRB- 42, English, all - business -RRB-, and Co - Pilot WALTHER KAUFMAN, -LRB- blond, German, friendlier. -RRB- RICH They just shut down Frankfurt. KAUFMAN Thank God we are n't going to Frankfurt. RICH We may not be going anywhere. Kaufman nods knowingly. Then a blast of DE - ICING SOLUTION shoots out at them from a CREW on a motorized cherry - picker.", "EXT. TARMAC - APRON - SAME The cherry - picker moves the DE - ICING CREW in their haz - mat winter gear, toward the wing. Below, CARTS bring LUGGAGE to a BELT LOADER which feeds the luggage into the Airjet's holds.", "INT. UPPER DECK - ROW 23/24 - SAME Stefan passes by, doing a head count, as we hear : RICH -LRB- THRU P.A. SYSTEM. -RRB- Good evening, Ladies and Gentleman, this is your Captain speaking. We've just received clearance to push away from the gate. Should be off the ground shortly. Mrs. Loud tightens. Her husband strokes her hand. Stefan adds them to his headcount, then breezes by Kyle's row - where Julia continues to play on the floor, inside her `` fort.'' Just then, a loud SOUND - coming from outside Julia's window, nearly sends Mrs. Loud out of her seat. MRS. LOUD Bob? Bob? What was that?! It was a sheet of ICE, sliding off the wing. Julia pops up from her fort to find that DE - ICING CREW, at work. MR. LOUD -LRB- O.S. -RRB- I dunno, Honey. But I'm sure it's nothing to worry about. Julia looks to Kyle, who leans in : KYLE They have to knock the ice off the wings, or the plane's too heavy. That was good enough for Julia. but Mrs. Loud did n't hear it, and she's looking pretty anxious. JULIA You should tell her, mom. KYLE Huh? JULIA Maybe if you told her about your job she'd feel safer. Kyle pauses, touched. For a fleeting moment it's almost possible to forget the tragedy that just floored them both, only days ago. Then a huge reminder rolls toward them. It's a FORKLIFT, approaching the Airjet, bearing a single piece of cargo : David's CASKET. The forklift nears the forward hold of this Airjet, then vanishes from our view. Julia's face just drops. That's her dad in there. Kyle sighs. KYLE You just sleep, Sweetheart. When you wake up we'll be somewhere else. JULIA Daddy too? KYLE Yeah. Daddy too. Julia looks out her window, lost. Then she steams that window up with her breath, and draws a little heart in the steam, with her finger. A tiny, clumsy heart. Kyle's too touched to speak. Julia rests her head against Kyle's shoulder. Kyle covers her with that overcoat again.", "EXT. BERLIN AIRPORT - RUNWAY - NIGHT The Airjet thunders down the runway, visibility near zero.", "INT. AIRJET - MAIN DECK - SAME We DOLLY DOWN THE AISLE as the plane rumbles. Some passengers read, or listen to music. Some are already asleep. Then the nose rises powerfully, into that heavy weather, and we detect the signs of strain on some faces.", "INT. AIRJET - UPPER DECK - ROW 23/24 - CONTINUING Mrs. Loud is just about hyperventilating with fear - mumbling about the climb's being too steep. That makes Julia a bit uptight, so : KYLE Hey, how'd ya like to have a whole row to yourself? JULIA Huh? KYLE Last couple rows are empty. We could take a couple seats each. Would ya like that? Julia half - smiles. Kyle gives her a confident grin. We HOLD on them for a moment, as the plane continues its climb. That orange juice carton trembles on an empty seat. Then we DESCEND. through the floor of this cabin. into the Main Deck, then through its floor, into :", "INT. AIRJET - FORWARD HOLD - SAME We're in the belly of the plane now, mid - takeoff. This hold is 60 yards deep, 25 yards wide, seven feet high, packed tight with LD - 3's -LRB- LUGGAGE BINS, five - feet tall, five feet wide, eighteen abreast. -RRB- We DOLLY THROUGH the hold, finding row after row of them. Then we find a Mercedes sedan, on a pallet, protected by a metal superstructure. Then another row of square bins. then the casket, wedged between that last row of luggage bins and the FORWARD WALL of this hold. Like everything else down here, the casket is shuddering from all these RPMs as the Airjet makes its climb. FADE TO BLACK. and come in on Kyle, sound asleep.", "INT. AIRJET - UPPER DECK - ROW 35 - TWO HOURS LATER Kyle sleeps across four middle seats in Row 35, back of the plane, no one else within five rows of her. She stirs a bit, awakening, turns toward Julia. But Julia's not in 35 - A. There's a mussed blanket on the seat. But no Julia. Hmmm. Kyle cranes her neck to look down the aisle. Most of coach is asleep. Light flickers from video screens : movies, sitcoms, soccer broadcasts. Some passengers work on laptops. Some read. But we do n't see Julia among them. She must've returned to their original seats. Of course. Kyle rises and heads down the aisle, unalarmed.", "INT. AIRJET - UPPER DECK - ROW 24 - CONTINUING Kyle nears their original seats. Row 24. KYLE Sorry, Honey. Mommy fell asl - Kyle stops herself, mid - word. Julia's not here either. That's odd. Still not alarming, but odd. Where the hell is she? Kyle begins to scan the plane, as : CARSON -LRB- O.S. -RRB- Ever seen this movie? Kyle turns. Here's Carson, in 25 - D, watching a movie. KYLE No. CARSON Not too funny. ` Course, when you're at 35,000 feet you ca n't just up and walk out of the theatre, can ya? KYLE Did you happen to see a little girl go by here? CARSON No. Sure did n't. KYLE My daughter. -LRB- Carson shrugs. -RRB- How long've we been flying? CARSON Two hours. A little more maybe. Kyle heads up the aisle, reminding herself that it's only in parks and malls where losing a kid can be dangerous.", "INT. AIRJET - UPPER DECK - LEFT AISLE - CONTINUING On the Coach bulkhead, a screen shows us an animated plane trekking across the Atlantic, with data reading : `` Air speed 634 mph, Altitude 43,400 feet, Time to Destination 5h 12m.'' There are two LAVATORIES at Row 17. Both lavatory doors are closed, but only one has its `` OCCUPIED'' light lit. Kyle looks inside the vacant one. No Julia. Kyle waits. as that `` Occupied'' light turns off on the other lavatory. Now this door opens. and a WOMAN emerges. Damn. Kyle turns, looks over the whole Coach cabin. No sign of Julia. Kyle moves aside a blue curtain, entering :", "INT. AIRJET - UPPER DECK - BUSINESS CLASS - CONTINUING It's nice up here. Sleeper seats, plenty of wine. We see the door leading to the Flight Deck up ahead. Fiona serves chateaubriand and plastic knives. She notes Kyle. FIONA Can I help you? KYLE I'm looking for my daughter. FIONA There's a girl in the galley, talking to some of the crew. could that be her? Instant relief on Kyle's face. KYLE Yes. Thank you. Kyle heads for the Forward Business Galley, chiding herself for having worried. as the Loud daughter, Brittany, emerges from the Galley, carrying some peanuts. Kyle sags, turns to Fiona : KYLE No. She's four. My daughter. FIONA Oh. Sorry. She has n't been up here. Kyle nods a thank you, then checks the Galley anyway.", "INT. AIRJET - UPPER DECK - BUSINESS - AISLE - CONTINUING Fiona serves another tray to a passenger. Kyle walks down the opposite aisle now. KYLE She has long hair. Probably carrying a chenille teddy bear with one arm. FIONA What's she carrying with the other arm? KYLE No, the bear. It only has - Kyle stops herself - just realized Fiona was making a joke. She breathes out a laugh, well aware that she must look pretty silly just now. KYLE -LRB- CONT'D. -RRB- Probably just found some other kids to play with. Fiona smiles warmly.", "INT. AIRJET - MAIN DECK - RIGHT AISLE - MOMENTS LATER Kyle's on the MAIN DECK now, scanning the cabin with an unease that's beginning to grow. Up ahead, two Flight Attendants, Mike and ANNA, serve Coach - meals from a CART. Kyle's in their way. And they're in hers. Mild turbulence makes some mini - bottles clink. Then a sharper jolt hits. ANNA I'm sorry, Ma'am. Would you mind using the other aisle? KYLE I'm looking for my daughter. ANNA Well, she ca n't have gone too far. In other words, `` This meal - cart is n't moving. You are.'' KYLE I'll go around. Anna smiles, `` Good thinking.'' Kyle backs away.", "INT. AIRJET - MAIN DECK - REAR GALLEY - MOMENTS LATER Kyle checks row after row, pausing at empty seats, any `` hiding places'' a four year - old might find appealing. until she's made it all the way back to this GALLEY. She looks under a counter, even looks in a CABINET - all the while reminding herself : Relax. She's obviously fine. But where is she? Four more lavatories back here. Kyle opens the first. Nothing. Then the second. No little girl. Ten rows up, unbeknownst to Kyle, Anna just caught a glimpse of her : the lady with the `` missing'' daughter, throwing open lavatory doors. Anna looks to Mike. Kyle closes the fourth lavatory door - also empty.", "INT. AIRJET - UPPER DECK - LEFT AISLE - CONTINUING Kyle emerges from the AFT STAIRS now, into the Upper Deck. She checks Row 35 again, where they'd fallen asleep. She even looks under that blanket. There's Harry, the one - armed bear. But no Julia. That's weird. Julia would n't go anywhere without Harry.", "INT. AIRJET - UPPER DECK - ROW 24 - SAME Kyle's walk, her eyes, her hands, they're all projecting the irrational fear that's now taking root. But she's convinced herself that when she gets to Row 24, she'll find Julia back where she ought to be. Kyle arrives. 24 - A, once again, remains empty. KYLE -LRB- it just blurts out. -RRB- Shit! That got the attention of the lady one row back, in 25 - B. She's German, 50's. Her name's CLAUDIA. CLAUDIA -LRB- mild German accent. -RRB- Is something wrong? KYLE I ca n't find my daughter. -LRB- Claudia shrugs. -RRB- Did you happen to see her by any chance? Walking by? CLAUDIA I do n't think so. How old is she? KYLE She's four. CLAUDIA I never saw her. Kyle spins around to look up the aisle, her movements growing a bit more pronounced now. No little girl in sight. Kyle throws the teddy - bear on to the seat, hard. Then : STEFAN -LRB- O.S. -RRB- Can I help you, Ma'am? Kyle turns. Here's Stefan. -LRB- We met him earlier. -RRB- Kyle sighs. She needs an ally just now. Stefan, lifting a P.A. PHONE to his lips.", "INT. AIRJET - UPPER DECK - FORWARD GALLEY -MOMENTS LATER Stefan ca n't quite believe he's saying this, but : STEFAN -LRB- INTO P.A. PHONE. -RRB- Ladies and Gentleman, I'm sorry to interrupt, but we've got a `` first'' to report. Kyle and Fiona stand beside Stefan, their eyes scanning Business. as Stefan addresses the entire plane : STEFAN -LRB- INTO P.A. PHONE, CONT'D. -RRB- Seems our Airjet is big enough to lose a child in. That drew some light laughter from a few passengers. We TRACK DOWN the right aisle of this deck as Stefan continues : STEFAN -LRB- O.S., THRU P.A., CONT'D. -RRB- Her name's Julia, age four. She's wearing a white t - shirt and a red cardigan sweater. If she's anywhere near you, or perhaps playing with one of your kids, please ring the call button now. We've got an anxious mom up here. Thank you.", "INT. AIRJET - COCKPIT - SAME Captain Rich and his Co - Pilot Kaufman are hearing the announcement as well. STEFAN -LRB- O.S., THRU P.A., CONT'D. -RRB- Once again, her name's Julia. Stefan now begins to repeat the same speech, in German. KAUFMAN All children should have to wear a cowbell. Rich smiles, entirely unconcerned.", "INT. AIRJET - UPPER DECK - FORWARD GALLEY - RESUMING 580 tiny LED LIGHTS fill a PANEL, each one corresponding to the `` Call'' button on each of this plane's seats. Kyle and Fiona stare at the panel. Beside them, Stefan finishes his announcement in German, then looks to the LED panel, certain that someone's going to answer the call. Nothing. Not a single light pops on. KYLE Someone must've seen her. Fiona's more puzzled than worried. After all, the kid has to be somewhere. Estella appears, dropping off a meal - cart. ESTELLA Anybody check downstairs? STEFAN -LRB- re : Kyle. -RRB- We both did. She's not there. Kyle looks down the aisles. Passengers block her view. KYLE We hafta start searching the plane. I do n't know how to organize that. ESTELLA Ma'am, I'm sure she's fine. There's no need to - KYLE No. She's not herself right now. She's just been through something. Can we turn on the seatbelt sign? ESTELLA Let's not get ahead of ourselves, Ms. -? KYLE Sherin. ESTELLA Ms. Sherin. I'm sure she's - KYLE There are nine closets on this plane. Seven up, two down. None of them have been checked. There're also seventeen galleys, and the crew quarters, and the holds. She has to be somewhere. I just need the aisles clear so I can look. That drew some uncomfortable looks. ESTELLA Tell you what : let's go back to your seat. I'll ask the Captain if he can step away from the Flight Deck. Kyle eyes her : are you bullshitting me? Estella eyes Kyle right back : am I going to have a problem with you? Kyle does n't want to appear irrational, so she nods.", "INT. AIRJET - UPPER DECK - ROW 24 - MINUTES LATER Kyle sits on the ARMREST of her seat. Waiting, trying to keep her nerves still. It's been ten minutes. Fiona stands here, a uniformed babysitter. It's awkward. FIONA -LRB- to fill the void :. -RRB- Are you in the airline business? KYLE What? FIONA You seem to know aircraft design. KYLE I work for Airjet. Mechanical engineer. FIONA Based in Berlin? KYLE Look, I know you're just trying to keep me calm. But the problem here is not that I'm anxious. The problem is that my daughter is missing and nobody can tell me where the hell she is. Okay? That put Fiona off ; it also got Carson's attention - he looks up from his movie, discreetly. The Louds too. Kyle sighs, switching gears a bit : KYLE -LRB- CONT'D. -RRB- -LRB- softer. -RRB- I'm sorry. Do you have kids? FIONA Do nieces count? KYLE Almost. They actually share a near - laugh. It breaks the tension. FIONA They hate playing hide - and - seek with me because I always find them. So fear not. Fiona smiles ; it's encouraging. Rhett and Brittany are now officially snooping, facing Kyle, so : KYLE -LRB- to the Louds :. -RRB- Did any of you see my little girl? MR. LOUD You're the one they made the announcement about? KYLE Yes. MR. LOUD I did n't even know you had a kid with you. -LRB- at Mrs. Loud. -RRB- Did you, Honey? MRS. LOUD Sorry, I did n't. What's she look like? KYLE You saw her, before. Four years old, dark hair in a ponytail. Mrs. Loud shrugs, looks to her kids. KYLE -LRB- CONT'D. -RRB- Maybe you guys could help me look for her. RHETT Cool. BRITTANY Awesome! I'm so bored. MR. LOUD Sorry. No. RHETT Dadddddd. BRITTANY She's lost. MR. LOUD We're in a tube. How lost could she be? Turn around. The kids turn around. The engines drone. Kyle sits, trying to be calm. FIONA I'm sure the Captain will be here any minute. Kyle nods, then catches a glimpse of something, in the corner of her eye. She turns. It's Stefan, emerging from the aft section - with a deeply uneasy look on his face. And a piece of paper in his hand. Kyle tightens, instantly ; something about Stefan's expression, a look that says I've got something troubling to report but I do n't know quite how to report it. Kyle begins to imagine the worst : Julia's dead, Julia's been sucked into a jet. She pushes past Fiona and into the aisle, making a bee - line for Stefan. We DOLLY WITH KYLE as she marches past row after row, until she reaches Stefan, right around Row 30. KYLE What's wrong? What's happened? STEFAN I'm sorry. I need to speak to the Captain first. KYLE If it has something to do with my daughter you need to speak to me. That was way too loud. Stefan looks to Fiona, then : STEFAN Come with me.", "INT. AIRJET - UPPER DECK - CORRIDOR - MOMENTS LATER Stefan, Kyle, and Fiona crowd into a corridor, lavatories on either side of them. It's the only `` privacy'' possible. KYLE Okay. What is it? Stefan pauses, desperately uncomfortable. STEFAN Ms. Sherin. I do n't know how to - KYLE Is she all right? Did something happen to her? STEFAN Ms. Sherin. KYLE What. Say it. -LRB- Stefan ca n't. -RRB- Say it. STEFAN Ma'am. I do n't think she's here. Kyle pauses. Fiona too. That did n't make sense. KYLE What're you talking about? STEFAN I looked at the manifest. She is n't on it. KYLE I do n't understand. STEFAN There's no record of her having been on board. Huh? Fiona looks to Kyle. STEFAN -LRB- CONT'D. -RRB- The manifest lists 24 - A as `` unoccupied'' and I did the headcount myself. I checked each seat. KYLE So you missed one, she was hiding under a blanket. -LRB- to Fiona. -RRB- What's that got to do with finding her now? Fiona does n't know how to react. She looks to Stefan. STEFAN I also contacted the departure gate, in Berlin. -LRB- bracing himself. -RRB- Ma'am, they say they never checked a Julia Sherin on to this plane. KYLE She was with me. They checked us on together. An awkward beat. Stefan obviously thinks Kyle is nuts. KYLE -LRB- CONT'D. -RRB- Would you like to see her boarding pass? STEFAN If you would n't mind. Seething, Kyle reaches into her jacket. and pulls out a boarding pass. A single boarding pass. Not two. One. It says `` Sherin, Kyle'' on it. Wait a minute. She checks her pocket again. Checks three other pockets. Checks her pants pockets. as Stefan looks to Fiona. KYLE I had it, right in this pocket. They were right here when I fell asleep, both boarding passes. Now Kyle's both spooked and livid. She wheels around, angrily heading back toward her seat. They follow.", "INT. AIRJET - UPPER DECK - ROW 24 - MOMENTS LATER Kyle arrives at her original seat, opening the OVERHEAD BIN above her. This ought to shut Stefan up. Instead, Kyle simply pales. FIONA Ms. Sherin? Kyle stands perfectly still, staring at that open bin. Her carry - on is inside. But Julia's backpack is missing. KYLE Her backpack is gone. Fiona looks inside the bin - Stefan too - unalarmed. KYLE -LRB- CONT'D. -RRB- She could n't've reached up here by herself ; she's not tall enough. -LRB- can barely say it :. -RRB- Somebody has her. STEFAN Ms. Sherin, that's quite an assumption. I do n't - KYLE How else did her stuff disappear? Can you think of another way? Fiona's growing more uneasy about all this ; too many people are watching. And Kyle's starting to look a bit unglued. KYLE -LRB- CONT'D. -RRB- I have to see the Captain. STEFAN I can ask him, Ma'am, but I ca n't guarantee that he'll - KYLE There are people who like to do things to little girls. Sick people. You know that. Stefan was n't prepared for that one. Neither was Fiona. KYLE -LRB- CONT'D. -RRB- I wan na see the Captain. and Kyle decides : These people are n't going to help me. So she brushes past them, making a bee - line for the Flight Deck.", "INT. AIRJET - UPPER DECK - TRACKING KYLE - CONTINUING We TRACK KYLE. as Stefan tries to keep up with her. STEFAN Ms. Sherin, if you'll return to your seat I'll let the Captain know you want to see him. KYLE -LRB- keeps going. -RRB- I'll tell him myself. STEFAN It is against regulations for you to - Kyle stops. Turns. Stares right through the guy. Then : KYLE Somebody has my daughter. Do you understand that? Stefan just about stammers, clearly overwhelmed. Kyle turns and heads into :", "INT. AIRJET - UPPER DECK - BUSINESS CLASS - CONTINUING Kyle heads for the Flight Deck door. The Attendants up here eye her, wondering what she's doing. But no one looks alarmed. until they realize that she's heading for the cockpit. ESTELLA What're you? but Kyle just blew past Estella, nearing the COCKPIT DOOR.", "INT. AIRJET - UPPER DECK - COCKPIT DOOR - CONTINUING It's sealed, grenade - proof. Kyle knocks on it. KYLE -LRB- CONT'D. -RRB- Captain? -LRB- knocks again. -RRB- Captain? I have to speak to - THUD. In a flash, Kyle finds herself hurled up against that door, her face pressed hard into it. Somebody just tackled her. And that somebody is right behind her now, yanking an arm back like a cop would do it. UNIDENTIFIED TACKLER -LRB- O.S. -RRB- Ms. Sherin, I'm sorry I had to do that. But your behavior was constituting a threat to the safety of this aircraft. KYLE -LRB- muffled. -RRB- I need to see the - UNIDENTIFIED TACKLER I'm an Air Marshall. Can I let you go? KYLE I'm not a threat to the - UNIDENTIFIED TACKLER Can I let you go? KYLE Yes. `` Tackler'' backs away. which is when Kyle learns the identity of this guy, our flight's Air Marshall. Carson, who's been one row away since take - off. Kyle ca n't believe it. CARSON -LRB- `` UNIDENTIFIED TACKLER''. -RRB- Gene Carson. Are you hurt? Behind Carson, SIX FLIGHT ATTENDANTS now stare at Kyle. KYLE I just wan na talk to the Captain. CARSON I understand. But that's his call, not yours. -LRB- to the door, loud :. -RRB- All clear, Captain. Now the cockpit door opens, and Captain Rich emerges, sizing things up for himself. Kyle tries not to sag.", "INT. AIRJET - UPPER DECK - GALLEY #2 - MOMENTS LATER We're TIGHT on JULIA'S PASSPORT. Rich eyes it, flanked by Carson, Stefan, and Fiona. In his other hand is Stefan's passenger manifest. RICH The departure gate had no record of her? STEFAN No, Sir. I had them double - check. RICH And there's no boarding pass? KYLE There was. It was taken from me. Rich considers that, eyeing Julia's passport again. KYLE -LRB- CONT'D. -RRB- -LRB- at Stefan. -RRB- Did you tell him about the bear? Stefan shakes his head, embarrassed for Kyle. RICH Bear? KYLE Her teddy - bear. It was under the blanket, where she'd been sleeping. She would n't've walked away without it. Oh. Rich turns to Kyle, reluctantly having to ask this : RICH Have you had anything to drink on this flight, Ms. Sherin? -LRB- Kyle hated that. -RRB- Anything alcoholic at all? KYLE No. RICH Are you under any medication right now? KYLE I have a few sleeping pills with me like every other passenger on board. She pauses, weighing whether or not to trust him. then : KYLE -LRB- CONT'D. -RRB- I'm also carrying Klonepin. They're for anxiety. I took two this morning. RICH I see. How long have you been on them? KYLE I'm not `` on'' them. RICH How long? Kyle eyes him, cold as hell. Fuck this guy : KYLE I filled the prescription last week. That's when my husband died. My daughter and I are taking his body back to Long Island for the burial. Silence, just like that. The tenor of things just changed. especially for Rich. He eyes Kyle, more softly now. STEFAN There is a casket in the hold, Captain. Paperwork's from Kaiser Wilhelm Hospital, on Hochstrasse. Rich nods, looks to Kyle. Nothing but compassion for her. KYLE He fell. The roof of our building. Six days ago. The others try not to jump to any conclusions about that but it's impossible. Kyle reads their faces. RICH I'm very sorry, Ma'am. Kyle nods. Rich eyes his team, troubled. RICH -LRB- CONT'D. -RRB- Does anybody on board remember seeing the girl? Passengers in her row? Fiona and Rich do n't want to report this, but. FIONA No, Captain. STEFAN No, Sir. RICH You're seated near her - is n't that right, Mister Carson? CARSON That's right. RICH Did you see her? Carson hates to say this, but. CARSON -LRB- reluctantly. -RRB- No. Rich eyes Kyle. It does n't look good. Kyle knows that. But she ca n't crack. She has to convince these people. KYLE I want you to think about what you're suggesting, Captain. You're suggesting that I imagined bringing my daughter on board and am now pretending to be looking for her. Does that make sense to you? Can you think of any reason in the world why I would do that? I'm not drunk. I'm not loaded. I'm not looking for attention. I've worked on airplanes my whole life, same as you. The last thing I'd ever wan na do is disturb a flight. No one answers ; it's maddening. She wants to scream. KYLE -LRB- CONT'D. -RRB- There are protocols about these things. Post nine - eleven if a pilot finds that he's got an inaccurate passenger manifest, he's supposed to land at the nearest - RICH A teddy bear does not constitute an inaccurate passenger mani - KYLE But I'm telling you it's inaccurate. That obligates you to do a real search, nose to tail. A thorough search. Like you would if you had a child that was missing. That pissed Rich off, so Kyle interrupts herself - does n't want to alienate the guy. She struggles for calm. KYLE -LRB- CONT'D. -RRB- Julia's only four, and she's not in very good shape right now. She just lost her father. Everything scares her. I had to hide her under my coat just to get her into the car this morning. -LRB- eyeing them. -RRB- But she did get in that car. And she got on this plane, like everyone else. I fell asleep, which I never should've done. But she was sitting right next to me. When we took off. I held her hand. Just barely keeping it together now. KYLE -LRB- CONT'D. -RRB- -LRB- right at Rich :. -RRB- Please. You have to help her. Rich pauses. Their eyes lock. Then Rich turns to Stefan : RICH Get the lights up, get every passenger seated. No one in the lavatories, no exceptions. Open every closet and bin. We search for the girl, nose to tail, understand? Kyle sighs with relief. There's hope.", "INT. AIRJET - MAIN AND UPPER DECKS - VARIOUS - MOMENTS LATER - Every CABIN LIGHT comes on. - Overhead bins and closets are thrown open. - Hanging - bags are pulled off a rack by Fiona, who is searching diligently. - The `` Fasten Seatbelts'' signs are lit. - Passengers waiting to use lavatories are instead shown to their seats. - Anna pins SIGNS on the lavatory doors, in German and English : `` Out of Service - Please Do Not Use''", "INT. AIRJET - MAIN DECK - COACH CABIN - SAME DOLLYING DOWN the aisles we hear grumbling, lots of it, in snippets of conversations : `` Air Marshall.'' `` Arguing with the Captain.'' `` We might have to turn around.'' And the focus of it all. is Kyle. She makes her way down an aisle, ignoring the way these people are looking at her.", "INT. AIRJET - MAIN DECK - FIRST CLASS - CLOSET - SAME Stefan empties a CLOSET, tossing carry - ons and hanging - bags aside. Helping him is another flight attendant, IRENE. Once the closet is empty, we discover a HATCH hidden on the closet floor. Stefan jerks the hatch open. revealing a hole that descends into a tiny, lighted ROOM below. He and Irene are thinking the same thing : IRENE This is really silly. RICH -LRB- O.S. -RRB- This is procedure. Irene turns, chagrinned. She'd been unaware that Rich was standing here. IRENE Yes, Captain. She hands a flashlight to Stefan, who descends through the hatch, climbing down a fixed ladder. Four rungs.", "INT. AIRJET - \"ELECTRICAL BOX\" - CONTINUING Upon reaching the bottom of the ladder, Stefan is now standing in the very brain of this aircraft, its electrical nerve center, completely inaccessible to the general public. Around him - filling this cramped, H - shaped room - are the CONVERTER BOXES that make flying this plane possible. Every single system on the Airjet runs through these boxes : navigation, hydraulics, pressurization, communications, power. Everything. All the back - up boxes are down here too. -LRB- Some of the systems have two redundant back - ups. -RRB- An electrical hum hovers : all these systems, working. Insulated wires are tacked to every inch of ceiling space in here, conduits carrying commands to and from these boxes. Stefan stands on a thin catwalk, looking around : more converter boxes, more wiring, more electrical panels. But no four year - old girls. STEFAN Anybody in here? Hello? There's no reply. Stefan peers up that ladder, hoping that Captain Rich is noting the thoroughness of his search. Beyond the converter boxes is the forward - most point on the aircraft : the interior of the nose - cone. It's a pocket of unlit space, occupied mostly by STRUTS and WIRE - DUCTS. There's no way in hell a child could've even gained access to this place, much less chosen it to hide in. Stefan knows that. So he returns to that fixed ladder.", "INT. AIRJET - MAIN DECK - FIRST CLASS CABIN - SAME The champagne flutes and sleeper seats are now being disturbed as Mike and Anna tear this section apart, despite the complaints of their well - heeled passengers. We pass a guy in Row 3. He's 55, far too rich to take this sort of inconvenience with grace. Call him WEST. WEST I do n't see what all the fuss is about. It's not like she lost her Palm Pilot. That got some cynical laughter.", "INT. AIRJET - MAIN DECK - SAME Unhappy passengers stare at that `` Fasten Seatbelts'' sign, waiting for it to go off. The unfortunate Flight Attendant who crosses through at this moment is JENNIFER. ROW 19 MALE PASSENGER Miss, I really need to use the restroom. JENNIFER As soon as the Captain's turned off the seatbelt sign, Sir. Kyle passes by, continuing her row - by row search. Carson is right behind, bird - dogging her. We hear an UNSEEN PASSENGER grumble : `` How come they get to move around?'' Kyle does n't hear it, does n't hear anything. She heads for the stairs, Carson behind her. KYLE Listen, I do n't need an escort. CARSON Captain seems to think someone should keep an eye on you. I ca n't imagine why. Kyle continues up the stairs.", "INT. AIRJET - MAIN DECK - REAR OF COACH CABIN - SAME In the very back of Coach we find two more Flight Attendants, ERIC and KATERINA, who stand at a thin staircase that leads up. Eric gestures, `` Ladies first.''", "INT. AIRJET - MAIN DECK - STAIRCASE OFF OF COACH - CONTINUING Six steep steps, straight up. Katerina begins to climb. which puts Eric directly beneath her skirt. ERIC -LRB- re : his view. -RRB- A few more steps, Katerina, and the nature of this search is going to change in a fundamental way. KATERINA Do n't be a dunce. He shrugs, unoffended. They reach :", "INT. AIRJET - CREW QUARTERS - CONTINUING This is another of those spots that passengers never get to see : a tiny room, directly beneath the tail of the airplane, where crew - members can rest on long flights. On each wall in this cramped space we find a CUBBY - HOLE. Inside each cubby we find BUNK - BEDS, like you'd see on the sleeper car of a train. Katerina looks in Cubby # 1. No kid here. She checks Cubby # 2. Nothing, Meanwhile, Eric crawls in to Cubby # 3. where a HATCH hides, on the cubby's forward wall. Eric pops it open. revealing :", "INT. AIRJET - FUSELAGE \"ATTIC\" - CONTINUING Eric climbs through the hatch, into the Airjet's `` attic,'' a sprawling space that goes on forever. He flips on a maglight.", "INT. AIRJET - UPPER DECK - RESUMING Kyle continues her row - by - row search. Carson is behind her, watching instead of helping. She peers into a CLOSET, as : KYLE By the way, you could've just identified yourself - the tackle was unneccesary. CARSON An Air Marshall is required to use any means necessary to contain a threat to the safety of a flight. -LRB- a beat. -RRB- Ladies with imaginary children, they qualify. Kyle shuts the closet door, hard. Turns and faces him. KYLE Tell me something : what happens when we land at Kennedy and everyone finds out that she'd been aboard all along? How're you gon na explain yourself? If there'd been a crime committed during the flight and you'd nothing to stop it - the only law enforcement official on board. How're you gon na account for that? That landed ; we can see it. Carson shrugs. KYLE -LRB- CONT'D. -RRB- Somebody could be hurting her, right now, and you keep - CARSON -LRB- cuts her off. -RRB- Hey. -LRB- Kyle falls silent. -RRB- You made your point. Kyle studies him, realizing only now that what she said has registered. Carson almost looks humbled. Kyle moves on to the next row.", "INT. AIRJET - FUSELAGE \"ATTIC\" - RESUMING The beam from Eric's mag - light fans through the endless space of this `` attic'' : Above us is the ribbed curvature of the fuselage, insulated by lime green poly - paper. STRUTS descend from the fuselage, bolted to the column of `` overhead storage bins'' which are now below us. -LRB- The struts hold those bins in place. -RRB- Girders rattle, circuitry hums, metal moans under enormous pressure. Around us are bundles of wires, AIR DUCTS, the Auxiliary Power Unit, heavy feeder cables. But no four year - olds.", "INT. AIRJET - CREW QUARTERS - RESUMING Eric pops back into that Cubby again. Katerina waits beside a bunk. He hands the flashlight to her. ERIC -LRB- suddenly serious. -RRB- You should have a look. KATERINA Why? Did you see anything? ERIC No. then a sly grin comes to Eric's face. ERIC -LRB- CONT'D. -RRB- it's just that I'm dying to watch you crawl through that hatch. She rolls her eyes, amused but unoffended.", "INT. AIRJET - UPPER DECK - ROWS 14/15/16 - RESUMING Kyle continues to look row - by - row. Carson watches. Then - fuck it - he starts looking too : crouching down, scanning under some seats. Kyle notices. but she wo n't comment on it. Carson appreciates that. They continue along. when she stops, literally. Carson does n't know why. CARSON What's the problem? Kyle turns, focusing on a MAN they just passed - in Row 16. We saw him when he boarded. The man is Egyptian. His name's JARRAH. Kyle studies the guy, as if recognizing him from somewhere. Of course, that makes Jarrah uncomfortable. JARRAH May I help you? KYLE I do n't. Do I know you from somewhere? JARRAH You've walked past me five times since we took off. Does that count? The guy next to Jarrah laughs. This is AHMED, a Jordanian. And Kyle suddenly finds him familiar as well. Just ca n't place the exact spot. KYLE You're from Berlin? JARRAH -LRB- at Carson. -RRB- Am I being interrogated now? KYLE Just wanted to know if you were from Berlin. JARRAH No. I am not. CARSON Let's move along. Kyle stares at Jarrah, trying to remember. but her brain's too scrambled just now. KYLE Sure. Sorry. They continue on. Jarrah and Ahmed trade a look. Then they glance across their aisle, one row back, toward the LIBYAN MEN who were searched next to Kyle at the Metal Detector. The four share a look, its meaning undecipherable to us.", "INT. AIRJET - MAIN DECK - REAR OF COACH CABIN - MOMENTS LATER Eric and Katerina descend that tiny staircase from the Crew Quarters above. ERIC -LRB- O.S. -RRB- Think about what you're saying no to. I mean, it would be epic! KATERINA You're terrible! They're all giggles, having a wonderful time. until they reach the bottom of that stairwell - where Kyle stands. Carson's right behind her. The giggling stops, instantly. Katerina eyes the floor. KYLE I need to speak to the Captain again. There's a CREW - PHONE affixed to the wall at the base of those steps. Eric looks to Carson. KYLE -LRB- CONT'D. -RRB- I need to speak to the Captain. Can you get him for me? Carson looks to Eric : `` Humor her.'' Eric grabs the phone.", "INT. AIRJET - UPPER DECK - GALLEY #2 - MOMENTS LATER Kyle, growing more impatient : KYLE Okay. Can we look in the holds now? Reveal Rich, who is just - this - second entering the Galley. The guy has n't even had enough time to get both feet in. RICH Ms. Sherin, there's no conceivable way a child could've gained access to any of the holds. Now we discover Carson, flanking Kyle. KYLE There's access to the forward hold from Main Galley Number One. The food - cart elevator. RICH The call button's too high for a four year - old to reach. KYLE So's the overhead bin, but her backpack is missing too. She's with an adult. I told you. RICH What adult? Every single passenger is in his seat, accounted for. KYLE That's according to a manifest that we already know to be inaccurate. RICH It is not inaccurate! A beat, both of them frustrated. KYLE Captain, we ca n't say we've thoroughly searched this aircraft until we've looked everywhere, and that means the holds. RICH I'm sorry, I ca n't allow that. KYLE Goddammit! Are you listening? That stopped things cold. Rich eyes her, silently reminding her of his rank. She knows she ought to apologize. but she ca n't. So they're silent, until : CARSON I do n't think it's a bad idea, Captain. RICH What?! Kyle just brightened. CARSON Might be good to have her below deck for a while. She's making people anxious. Rich looks to Kyle, surprised that that did n't offend her. CARSON -LRB- CONT'D. -RRB- Lem me go down there with her. RICH Mister Carson, I'm responsible for the safety of every passenger on this plane, even the delusional ones - and I can not have a passenger out of her seat belt, bouncing around with the luggage bins in a cargo hold. One patch of turbulence and she could be seriously injured down there. And so could you, by the way. I do n't fancy pulling into Kennedy with an unconscious Air Marshall on my hands. -LRB- at Kyle :. -RRB- Now, we are going to continue to search this aircraft from the waist up. If we do n't find anybody, I'll send two members of my crew into the holds. I trust that that will be satisfactory to you. KYLE I just saw two members of your crew, Captain - on their way back from `` searching'' the attic. They never even bothered to turn on their flashlights. RICH Ms. Sherin, there are 425 passengers on this flight who are NOT receiving any attention at the moment because everyone of my flight attendants is busy conducting a search for a child that none of them believe was ever on board. I'm sorry if you think we could be doing more to meet your needs, but you'll have to take it up with Customer Service after we land. Fair enough? Kyle's about to fire back, when : STEFAN -LRB- O.S. -RRB- Captain? Rich turns. to find Stefan, who has just arrived from the Flight Deck. with a FAX in his hands. RICH Yes? STEFAN Can I speak to you for a moment? Stefan looks matter - of - fact, almost businesslike. Rich nods. RICH Mister Carson, this woman is in your charge. I want her to remain in the passenger cabins. Is that understood? CARSON Understood. RICH Thank you. Excuse me. With that, Rich exits the galley, leading Stefan to the Flight Deck. Just Kyle and Carson now. A beat. Kyle's face working. She's just about to say something to Carson. when she stops herself, as is something had just occurred to her. Something huge. KYLE -LRB- just came to her. -RRB- I know where I've seen him before. Carson eyes her, lost : `` Seen who?'' Kyle does n't explain. Instead she hurries out of the Galley. We follow :", "INT. AIRJET - UPPER DECK - COACH CABIN - CONTINUING Kyle barrels into the Coach Cabin, her eyes suddenly ablaze, calling out to someone unseen to us : KYLE -LRB- CONT'D. -RRB- I know where I've seen you before! People turn, confused, until we see who she's zeroing in on : Jarrah. He turns, befuddled, as she marches right at him. We jump back in time to :", "INT. KYLE'S APARTMENT - JULIA'S ROOM - NIGHT (FLASHBACK) Kyle stands at Julia's window, closing the drapes. when she sees TWO MEN on the other side of that courtyard, standing at a window, staring into Julia's room. They're Middle - Eastern. From this distance, they look a hell of a lot like Jarrah and Ahmed. End Flashback.", "INT. AIRJET - UPPER DECK - ROW 16 - RESUMING Kyle starts cross - examining even before she reaches their row : KYLE Where's my daughter. JARRAH What?! KYLE Where's my daughter?! Kyle gets to their row, drawing far more attention than Carson would like. JARRAH I do n't know what you are talking a - KYLE You were looking through her window last night. CARSON Wait a minute. KYLE I saw you looking across the courtyard into her room. Both of you. AHMED You are a lunatic! KYLE Where's my daughter? An Egyptian and a Jordanian, on an airplane, accused of a conspiracy. Instant racial profiling begins, all around them. Eric now enters, flanked by Katerina. They get the drift. CARSON Hold it. Back up. You've seen these men before? JARRAH No. She has not. KYLE I saw them last night. Staring into my daughter's room. Jarrah dismisses that with a laugh, particularly incensing a nearby white passenger named ELIAS. CARSON -LRB- to Jarrah. -RRB- Is this correct, Sir? JARRAH I have never seen this woman before in my life. AHMED Neither have I. KYLE What would you expect them to say : `` Ya got me?'' ERIC How ` bout we move this into one of the galleys? KYLE No! He does n't get a minute to think up an answer. I wan na know right now! Where'd you take my little girl? JARRAH I did n't do anything. I've never seen her! Another minor hiccup of turbulence. Things are getting pretty tense up here. Jarrah can feel the looks coming his way. JARRAH -LRB- CONT'D. -RRB- Not that it's any of your concern, but I was at the Hilton last night. In Tiergarten - on business - we both were. And neither of us left the hotel. Would you like to see our bill? Kyle looks to Carson, who has now become a U.N. negotiator. CARSON -LRB- to Jarrah, politely. -RRB- It's a bit unorthodox, but. if you would n't mind. Jarrah pauses : you're kidding. Nope, nobody's kidding. Livid, deeply offended, Jarrah grabs his carry - on from under his seat, unzips it, rifles through some papers. Silence in here. Everybody watching. The Libyan guys are paying special attention. So's Elias. Eric too. then Jarrah finds his HOTEL RECEIPT and thrusts it at Carson with great indignance. Carson eyes it. Looks to Kyle. ELIAS -LRB- quietly, to his wife. -RRB- A bill does n't prove anything. Carson examines the `` evidence'' in his hands. We get a look at it now : there are PHONE CALLS listed, with a time - entry for each. And two MOVIES ordered. JARRAH Satisfied? -LRB- Carson nods reluctantly. -RRB- Then I'd suggest you find two other Arabs to harass. Carson nods, hands the receipt back to Jarrah. Two seats over, Elias turns, scowling. CARSON -LRB- calmly, to Kyle. -RRB- Let's go. KYLE What the hell does a bill prove? CARSON Let's go. Carson starts to pull Kyle away. Kyle breaks free and : KYLE -LRB- shouting, at Jarrah. -RRB- Where's my daughter? What've you done with her? JARRAH I spent the night watching a movie. you fucking bullshit lunatic! Kyle lunges at him. They collide like rams, Kyle gets a hand to his face and scratches at him. Jarrah does n't fight back. Eric hurries to get between them. ERIC Get a handle on this lady, will ya? as Carson grabs Kyle by the shoulder, yanking her hard. CARSON C'mere! Carson's a bull. He pulls Kyle away. KYLE What're you doing?! They've got her! CARSON Shut up! Carson pulls her away. we STAY WITH JARRAH, He touches a hand to his face. It's now BLEEDING. That shames him. He eyes his fellow passengers, then Eric. until : JARRAH Anyone else have any questions for me?! Silence. Jarrah has turned every white face in here against him. And he does n't seem to care. JARRAH -LRB- CONT'D. -RRB- Anyone else want to know where I've been and with whom I am associating?! Again, no one volunteers. The discomfort in here is palpable, particularly among those two Libyan Men. Jarrah sits.", "INT. AIRJET - UPPER DECK - CORRIDOR - CONTINUING Carson pushes Kyle into that CORRIDOR between the Coach lavatories. Hardly private, but it'll do. CARSON -LRB- CONT'D. -RRB- I can cuff you, understand that? I can confine you to your seat. KYLE They have Julia. Why would you wan na cuff me? Before Carson can reply, Fiona appears, carrying a half - empty orange juice CARTON. She leans into a nearby LAVATORY, dumps some juice into a toilet, but hangs on to the empty carton. Then Estella appears, and does the same thing : dumping the juice from a large apple juice carton down a toilet while hanging on to the carton itself. CARSON What're those for? FIONA I've got a seventy year - old in 20 - B who ca n't hold his pee any longer. ESTELLA Mine's six, about to wet his pants. From a few rows away we hear a SIX YEAR - OLD BOY, crying. ESTELLA -LRB- CONT'D. -RRB- That's him. Estella passes by, shooting Kyle a nasty look : `` Thanks, Lady.'' Fiona betrays no expression at all. Then they go. KYLE They have Julia. Carson tightens, acutely aware that people in nearby rows are listening in on this. CARSON -LRB- quietly. -RRB- You think those guys were surveilling you last night - is that it? KYLE Yes. CARSON For the purposes of kidnapping your daughter, stashing her in one of the holds until we land. KYLE Yes. CARSON Mind if I ask an obvious question? -LRB- Kyle's silent. -RRB- If they knew where you lived, why would n't they just take her from your apartment? Why take her on an airplane where they'd have no possible means of escape? KYLE I do n't know. CARSON And let's not forget : her name is n't on the manifest. How the hell could two pull passengers that off? KYLE Obviously, they'd have to have someone from the crew involved. CARSON Jesus Christ, it's a regular Grassy Knoll now! I suppose they've got a couple guys from the Grounds Crew at Kennedy in on it too - since once we land the only way to get her off this thing would be in a steamer trunk. Carson tries to rein himself in - again conscious of what a public forum this is. Annoying him further, Fiona and Estella now re - appear, bearing their JUICE CARTONS, now filled with piss. ESTELLA Excuse me. Estella heads for the lavatory, `` accidentally'' raising her piss - carton so it's right under Kyle's nose. Fiona dumps her carton in the toilet as well and exits the corridor. Kyle and Carson are `` alone'' again. Carson leans in : CARSON -LRB- quiet as possible. -RRB- Think about what you're asking me to do, okay? You're asking me to approach two Arabs - on an airplane - and accuse them of enacting a criminal conspiracy. Think about the ramifications of that. KYLE They have my daughter. I do n't give a shit about being politically correct! That was too loud, way too loud. And it pissed Carson off. CARSON Fine. Let's go arrest the both of'em. just as soon as you can answer one more question :. -LRB- Kyle waits. -RRB- Why the hell would anybody wan na take your daughter? Kyle sags. But Carson's not done yet : CARSON -LRB- CONT'D. -RRB- What makes her so Goddamn special? What makes you so Goddamn special that they'd go to all this trouble. Unless you're some kind of closet - millionaire who gets a secret thrill out of flying coach. Silence. Carson's pretty certain he's just ended this argument. And Kyle looks humbled. CARSON -LRB- CONT'D. -RRB- Well? KYLE What if they're hijacking the plane? Carson sags, ca n't believe she just said that. CARSON Ya know what, Lady - that swan dive your husband took is starting to make a whole lotta sense to me now. Couple hours with you and even I'm ready to jump. Silence. That took the air out of Kyle's lungs. She stares. Carson can see that he's wounded her. Goddammit. KYLE David fell. -LRB- no reply. -RRB- He fell. CARSON I'm sorry. Fuck. Carson studies her, a long beat, feeling like a heel. CARSON -LRB- CONT'D. -RRB- Okay. Go back to your seat. Wait there for me. Five minutes with no international incidents, okay? -LRB- ca n't believe I'm saying this but. -RRB- I'll talk to the Captain again, see what I can do about getting us into the hold. Kyle pauses, thinking she might've just heard wrong. KYLE Really? CARSON How else am I gon na kill five hours watching soccer? Kyle ca n't believe it : she's got a friend. But just as she's about to say `` Thank you''. DING! A familiar CHIME comes through the P.A. SYSTEM above Kyle. An announcement must be coming. Kyle looks up. then she hears : STEFAN -LRB- O.S., THRU P.A. -RRB- Ladies and Gentlemen, on behalf of our Captain we'd like to thank you for your patience during the unusual circumstances on this flight. As you can see, the Captain has turned off the fasten - seatbelt sign. You're now free to move about the cabin. The passengers CHEER. as Kyle's eyes go wide. STEFAN -LRB- O.S., THRU P.A., CONT'D. -RRB- For your safety, we suggest that if you remain in your seat you do keep your seatbelt loosely fastened. Thank you. To Kyle's dismay, PASSENGERS rise at once, heading for the lavatories. Several of them. KYLE -LRB- disbelief. -RRB- What's he doing? -LRB- Carson does n't know. -RRB- What is he doing? The aisles begin to fill, lots of full bladders. KYLE -LRB- CONT'D. -RRB- We have n't found her yet! Then Kyle turns, and spots something : Captain Rich, approaching from the Flight Deck. KYLE -LRB- CONT'D. -RRB- -LRB- at Rich. -RRB- What're you doing? RICH I need to speak to you. Rich takes her arm, gently, leading toward a galley. We TRACK THEM. as passengers make way. KYLE Are we done looking? Is that it? RICH Just come with me. KYLE No! She STOPS. Rich tightens, wanting to avoid a scene. RICH Ms. Sherin, we're not going to do this in the middle of the cabin. KYLE Where's my daughter, Captain? RICH If you'll come with me, we can discuss it. KYLE WHERE IS SHE! RICH She's dead, Goddammit! Kyle freezes, her face suddenly ashen. Somehow, this entire plane just fell silent. No one moves. No one even blinks. Even the engines seem quieter. Rich sighs. Carson's as floored as anyone. Kyle's almost too frightened to speak. KYLE -LRB- God no. -RRB- You found her? RICH No, Ms. Sherin, I did n't find her. He pulls a piece of paper from a back pocket. It's a FAX. He offers it to her. RICH -LRB- CONT'D. -RRB- This is from Kaiser Wilhelm Hospital, on Hochstrasse. That's where your husband was pronounced dead, is that correct? KYLE Yes. RICH David Sherin? six days ago? January 12? -LRB- Kyle nods. -RRB- Your daughter was also taken there. KYLE No. Julia was at the park when it happened, with her nanny. RICH Ms. Sherin, according to the Director of the Morgue there, your daughter Julia died of internal injuries at 2:36 p.m. on January 13. Same time as your husband. Absolute quiet fills the cabin. Stunned silence. RICH -LRB- CONT'D. -RRB- They went off that roof together. Did n't they? Kyle stares, dumbstruck. Carson, Fiona, Stefan, Anna, the Louds, everyone within earshot, eyeing her in a very different way now. KYLE No. RICH I'm very sorry. Kyle's head feels like it's spinning. This has to be a dream. KYLE No. Julia was n't even home. She was at the park. RICH Maybe you should sit down. KYLE She was at the park. Kyle stumbles back a bit, into an aisle seat. The floor feels wobbly beneath her. Jarrah and Ahmed watch, almost pleased. KYLE -LRB- CONT'D. -RRB- She was n't even there. -LRB- no one speaks. -RRB- She was n't even there. Kyle shudders, shakes her head. as IMAGES BOMBARD HER :", "INT. KYLE'S APARTMENT - JULIA'S ROOM - NIGHT (FLASHBACK) All those MOVING BOXES crowd the floor, everything packed. Karolina weeps in the background. An OUTFIT lies on the couch, beside that one - armed teddy bear. But we do n't see Julia in the bed. We do n't see her anywhere.", "INT. KYLE'S APT. - STAIRWELL - DAY (FLASHBACK) Kyle trudges down those steps with her THREE HUGE SUITCASES. Behind her she hears a THUMP, THUMP, THUMP. but it's merely one of her own bags, hitting each step.", "EXT. KYLE'S APT. BUILDING - HIGH ANGLE - (FLASHBACK) We are across the street, at rooftop height, as Kyle gets into that waiting car to go to the airport, her overcoat slung over her shoulder. We'd thought Julia was beneath it. But seen from this angle, Kyle now seems to be getting into the car alone. because Kyle, we now realize, is delusional. And everyone knows it, except Kyle herself. End Flashback.", "INT. AIRJET - UPPER DECK - RESUMING She tries to back away, but there's nowhere to go. She suddenly realizes that she's up against an EMERGENCY EXIT. KYLE You're crazy. You're all crazy. RICH She was never on board. KYLE I carried her on board. All these people, eyeing her : the crazy lady. MRS. LOUD Should n't somebody get her away from the door? Could somebody get her away from the door! RICH There's nothing to worry about, Ma'am. Rich looks to Carson, who gently positions himself between Kyle and the door. RICH -LRB- CONT'D. -RRB- Ms. Sherin, I ca n't tell you how sorry I am. I have a family too. Three daughters. And I can only imagine what you must be going through. No, I ca n't imagine. But my main resp - KYLE She must be so scared. RICH - my main responsibility is the safety of these passengers. And I ca n't allow anyone, no matter how tragic their circumstances, to jeopardize that. KYLE She does n't know where she is. RICH Our Air Marshall is going to escort you back to your seat. He can handcuff you if you force him to. I'm hoping that wo n't be necessary. -LRB- Kyle does n't reply. -RRB- As I said, I'm very sorry for your loss. -LRB- a beat. -RRB- Mister Carson, will you see her back to her seat now? Carson reaches for Kyle's arm. and Kyle simply snaps : She bolts into the aisle, knocking two people down as she bursts by them. Some passengers SCREAM. RICH -LRB- CONT'D. -RRB- Carson! But Kyle is already past Carson, so : Jarrah tackles Kyle, knocking her sideways. Kyle's face strikes an armrest, as she falls. Thud. Her cheek brightens and bleeds. Her eyelids flutter. The room swims. She mumbles the name, `` Julia.'' Then she's out. Jarrah stands over her, shocked as hell by what he's just done. We. And come back. on the faces of Rhett and Brittany.", "INT. AIRJET - UPPER DECK - ROW 24 - TWO HOURS LATER (NIGHT) Kyle awakens. to find Rhett and Brittany craning to look over their seat - tops at her. -LRB- NOTE : from now on, she'll have a large cut/bruise beside her left eye. It hurts. -RRB- LISA -LRB- O.S. -RRB- -LRB- heavy German accent. -RRB- How are you feeling? Kyle turns, thrown. Seated beside her now is LISA. She's 45, German. Carson is across the aisle now, in 24 - D. LISA -LRB- CONT'D. -RRB- Are you in pain? Kyle hesitates - who are you? - then puts a hand to the injury on her face, remembering. and it all rushes back : Julia. David. That rooftop. Lisa offers Kyle a cup of water. Rhett and Brittany duck down out of sight again. CARSON We can get some aspirin if ya want. Things have normalized in this cabin now : movies are playing, people are sleeping again. Meals are being served. But no Julia. Just this odd German woman, speaking gently : LISA My name is Lisa. The Captain thought you might want to. talk with me. -LRB- Kyle's a blank. -RRB- I'm a therapist. Kyle looks to Carson. LISA -LRB- CONT'D. -RRB- I saw you - my seat is just a few rows up - and I ask if I can help. Please forgive my English. Kyle feels like she's drowning. And her injury throbs. KYLE I do n't know you. LISA So many of my patients come to me after a loss. To grieve. -LRB- Kyle's silent. -RRB- Parents. If they have lost a child. Kyle shudders. Rhett and Brittany re - appear. MRS. LOUD Kids, turn around. RHETT/BRITTANY Mommmm. MRS. LOUD Turn around! The kids turn around, disappearing from our view. Lisa's glad for that. She turns to face Kyle again. LISA Sometimes it is just stopping. Being still. Is that the right word? Allowing the pain to come. -LRB- that landed. -RRB- Your husband. David. He was a very unhappy man? KYLE I do n't know you. Lisa nods, unoffended, and takes Kyle's hand. just a bit of human contact, but it works. Kyle shuts her eyes for a moment. KYLE -LRB- CONT'D. -RRB- He could n't work anymore. LISA I'm sorry? KYLE David. He could n't write anymore. He wanted to go back to New York. -LRB- Lisa's silent. -RRB- I would n't. I did n't wan na give up my job. LISA Have you cried about that? Have you asked them to forgive you? -LRB- Kyle's a blank. -RRB- You never got to tell them how sorry you were. How guilty you feel. You must be carrying that now. KYLE Last night I walked through the city, and he was there. He was with me. -LRB- Lisa nods. -RRB- We just walked. And he was n't angry about it anymore. He'd forgiven me. LISA Can you forgive him - for taking her like he did? Kyle shuts her eyes, ca n't trust her memory anymore. LISA -LRB- CONT'D. -RRB- Was Julia there too? KYLE What? LISA Your walk, with David. Was Julia there too? KYLE No. She was home. It was late. Kyle pauses a moment, as if reminding herself : `` Wait a minute ; I remember this so clearly. It must have happened.'' KYLE -LRB- CONT'D. -RRB- I came home, and she was in bed. She came into his office, looking for me. And we talked until she was asleep again. There was a certainty to that. Lisa smiles, touched. LISA It is impossible to. move on, yes? If we have n't accepted. Kyle's sighs, inadvertently steaming up her window. LISA -LRB- CONT'D. -RRB- You have to think. think of your husband and child as being on an island. A beautiful place. and there it is, a SHAPE emerging from the steam on Kyle's window : It's the HEART that Julia drew - while David's casket was being loaded onto the plane. A clumsy, shaky, beautiful heart, fingered by a child. Kyle stares at it, jolted. Julia was here. She was sitting right here. I did n't imagine that. LISA -LRB- CONT'D. -RRB- They will always be there. And you can swim to them any time you need to, in your mind. They'll be there. Kyle traces her finger over that heart, fresh tears wetting her eyes, not listening at all : LISA -LRB- CONT'D. -RRB- But that island. it is not a place where you can live. You have to let them be there. It's not your - how do you say? - not your place. Do you understand? A decision just got made ; we can see it on Kyle's face. First step is to get past Lisa, so : KYLE We believe what we want to, do n't we? LISA Sometimes it's the only way one can go on. Kyle nods, as if understanding completely - as if `` cured.'' That makes Lisa feel pretty successful. Then Kyle looks to Carson : KYLE -LRB- to Carson. -RRB- Am I allowed to use the restroom? Carson exhales, annoyed, looks to Lisa. CARSON This lady any kind of threat to herself, Doctor? Alone, in a lavatory? Do I have to take her belt and shoelaces or something? LISA Of course not. She's going to be fine. -LRB- at Kyle. -RRB- You're going to be fine. Kyle nods, `` grateful.'' CARSON Let's go. Kyle heads down the aisle.", "INT. AIRJET - UPPER DECK - LEFT AISLE - CONTINUING Some passengers take note of her. Others sleep, or read. Her celebrity has faded a bit. Stefan emerges from Upper Coach Galley # 2, bearing two coffee pots. He passes by Kyle and Carson. STEFAN ` Scuse me. Carson nods. Stefan slips past, careful not to brush up against them with the coffee pots. But Stefan's eyes meet Kyle's - for a split second too long. And Kyle's wheels begin to turn : He's in on it. Whatever this is, the Steward has to be in on it. Carson nudges her along.", "INT. AIRJET - UPPER DECK - CORRIDOR - CONTINUING Kyle passes two unoccupied lavatories, then stops before a third. She turns to Carson, gesturing with the cuffs : `` I need these taken off.'' Carson hesitates, conflicted. Just then, Fiona and Mike push their meal - cart by. Kyle watches them go, until Carson grabs Kyle by the wrists, snapping her rudely back to reality. CARSON -LRB- CONT'D. -RRB- I'll be standing right here. Kyle nods ; she knows. Carson unlocks the cuffs, tapping his sidearm to remind Kyle of where things stand. And Kyle steps into the lavatory.", "INT. AIRJET - UPPER DECK - LAVATORY - CONTINUING She enters, locks the door, turns. Here's a mirror. She eyes her reflection, a long beat, steeling herself. Then she climbs onto the toilet and pushes up on the ceiling panel above it. To our great surprise, -LRB- but not Kyle's -RRB-, the panel pops free.", "INT. AIRJET - \"ATTIC\" - CONTINUING This is the same endless cavern Eric looked through : insulated ducts, struts holding up the overhead bins from above, bundles of wires. A football field of space. Kyle pops up like a gopher out of a hole. A STRUT is right in front of her. She grabs it, pUlling herself into the attic. A few feet away is an insulated AIR DUCT. She crawls toward it, then around it. heading for something behind it. an ELECTRICAL PANEL, exactly where Kyle knew it would be. She pulls a coin from her pocket, uses it to open the panel : Inside is the world's greatest FUSEBOX - a forest of WIRES, meticulously tagged and color - coded. Hundreds of them. Working quickly, she grabs a bundle of BLUE - TAGGED WIRES, sorting through them with precision. Their labels read : Water Pump ; Main Cabin ; Floor Lights ; Emerg 02 Supply. Emerg 02 Supply. That's the one. She pulls it from the bunch. Next she starts searching through a bundle of YELLOW - TAGGED WIRES. She finds the Emergency 02 Supply wire from the yellow bundle, and separates it out.", "INT. AIRJET - UPPER DECK - OUTSIDE THE LAVATORY - CONTINUING Carson thinks this is taking too long. He taps on the door. CARSON -LRB- to lavatory door. -RRB- Hey.", "INT. AIRJET - \"ATTIC\" - RESUMING Fuck. Kyle turns herself around in this impossibly - narrow space, squirming back toward the open ceiling panel. Carson knocks on the lavatory door again, annoyedly : CARSON -LRB- O.S., CONT'D. -RRB- Hey! Kyle lowers her upper body through that open ceiling panel, so that her head is close enough to the door : KYLE Be out in a second. No reply from Carson. Kyle extends into the attic again. She pulls herself along that same strut, behind the duct, and back to that PANEL, resuming her work with those wires. Again, she finds the two that she needs : `` Emerg 02 Supply'' - one yellow, one blue. Then, for just a second, she pauses. Good God, I'm really about to do this. And here goes : She extends the wires toward one another. A BRIGHT ELECTRICAL CURRENT ARCS BETWEEN THEM. It scorches Kyle's hand, sparks flying, as :", "INT. AIRJET - PASSENGER CABINS - VARIOUS - SAME Bang. 580 EMERGENCY OXYGEN MASKS now drop from above. Instant panic and chaos. People scream, grabbing for masks, gasping like fish out of water - each suddenly connecting this event to the crazy lady on board. We're under attack.", "INT. AIRJET - COCKPIT - SAME A red PANEL - LIGHT alerts Rich and Kaufman : `` EMERG 02''. RICH Cabin de - press? KAUFMAN No. Then what the hell just happened? They reach for their own masks, located under their seats.", "INT. AIRJET - UPPER DECK - COACH CABIN - RESUMING Panic. at 43,000 feet. Stefan and Anna try to calm everyone down, but the fear in here is spiking.", "INT. AIRJET - UPPER DECK - BUSINESS - RESUMING More panicking passengers. Fiona's doing her best. FIONA -LRB- loud as possible. -RRB- Everyone, please give me your attention. There is no reason to panic! Place the mask over your face and use the straps on either side to tighten it. No one's listening ; they're too terrified. Carson hurries away from the lavatory, grabbing at the nearest unused mask. A woman nearby cries with fear.", "INT. AIRJET - \"ATTIC\" - RESUMING Kyle's not done. She hunts through those wires again, finding another matched pair, a blue and a yellow. Each reads, `` CABIN LIGHTS.'' Then another blue, another yellow. They read : `` CABIN TV.'' Same procedure. She extends the wires toward one another, absorbing a horrible scorch as the CURRENT arcs between them. A huge FLASH, and :", "INT. AIRJET - PASSENGER CABINS - VARIOUS - RESUMING Another nightmare. EVERY LIGHT ON BOARD JUST WENT OUT. Every video screen too. Total, sudden darkness, and the result is sheer terror : kids scream, adults too. Flight Attendants try in vain to maintain some sense of calm, but they're drowned out.", "INT. AIRJET - COCKPIT - RESUMING Another red PANEL - LIGHT just pinged : `` CABIN ELECTRICAL.'' Rich is already out of his seat, on his way to the cabins. RICH Get the floor - lights up.", "INT. AIRJET - \"ATTIC\" - RESUMING Kyle drops down from the attic, into the lavatory. No time to replace the ceiling panel.", "INT. AIRJET - UPPER DECK - CORRIDOR - CONTINUING The lavatory door opens, and Kyle slips out - the darkness and chaos providing perfect cover. The FLOOR LIGHTS POP ON. She follows them forward. TRACK her :", "INT. AIRJET - UPPER DECK - MOVING People call out to one another. Children cry. Several passengers yell that they ca n't get their masks to work. `` I ca n't breathe! I ca n't breathe!'' We also hear, `` It's the Arabs! They're terrorists!'' And `` They're taking over the plane!'' Kyle slips through it all. Elias, the crazed Caucasian, leaps through the darkness now, grabbing Jarrah. ELIAS What'd you do to the lights? What're you fucking guys doing?! That starts a race riot. Ahmed throws Elias aside. More Caucasian Passengers jump in. Then the Libyans.", "INT. AIRJET - UPPER DECK - RIGHT AISLE - SAME Carson, breathing through his mask, sees a TINY WHITE LIGHT approaching from down the aisle. It's Rich, mag - light in hand. The beam lands on Carson. RICH -LRB- has to shout. -RRB- Where's Sherin? Carson can barely hear amid the shouting. But he just noticed something : Rich is n't wearing a mask. Then Rich tears Carson's mask away, and : RICH -LRB- CONT'D. -RRB- You do n't need a mask - we have n't lost pressure. Where's Sherin? Carson's face says it all. Oh shit.", "INT. AIRJET - UPPER DECK - CORRIDOR OUTSIDE LAVATORY - SAME Carson races to that lavatory. Its door is open. Rich shines his flashlight beam inside. Kyle's not in here. But that missing ceiling panel tells them what she's done.", "INT. AIRJET - UPPER DECK- COACH GALLEY #2 - CONTINUING Kyle flies through a curtain, into the deserted Coach Galley. A food cart sits here, under a counter. She pulls it aside. revealing a tiny ELEVATOR. She reaches up for a CALL BUTTON near the galley ceiling. Presses it. The elevator opens. She slips in, hits the down button.", "INT. AIRJET - TINY ELEVATOR - CONTINUING We're in the dark, descending. The elevator hits bottom with a THUNK. The doors open. Kyle spills out. into the FORWARD CARGO HOLD.", "INT. AIRJET - FORWARD HOLD - REAR WALL - CONTINUING Immediately in front of us is a row of those LD - 3's : square BINS, five - feet tall, eighteen abreast, carrying luggage. They block our view of the rest of the hold entirely. KYLE -LRB- aloud. -RRB- Julia? Julia? No reply, but she has to be down here. Trouble is, there's no space between or around these bins - just row after row of them, five feet high. The ceiling, though, is seven feet high. That's enough room to crawl through. Kyle climbs on top of that first row of bins. Then, like a guy wriggling under the wire of a POW camp, she begins.", "INT. FORWARD HOLD - TRACKING KYLE ATOP THE BINS - CONTINUING She crawls over row after row - her eyes scanning, probing, her back brushing against the ceiling of the hold. Nothing to light her way but a few bare bulbs. KYLE -LRB- CONT'D. -RRB- Julia? Can you hear me, Honey? In front of her, there's a drop - off. She crawls toward it and looks down. Beneath her now is that black Mercedes S600 on a steel freight tray, beneath its metal superstructure. Smoked windows, drawn privacy curtains. Not a bad place to hide somebody. KYLE -LRB- CONT'D. -RRB- Julia? Are you in there, Honey? No reply. Kyle drops onto the roof of the sedan. There's no way to open the Benz' doors ; it's wedged between rows of bins. So Kyle bangs on its roof. KYLE -LRB- CONT'D. -RRB- Honey? Are you in there? It's so noisy down here that Julia could be yelling at Kyle from within and we might not hear it. Nearby is a CARGO HOOK, hanging on a rack. Kyle climbs over the hood, grabs the hook, and SMASHES the front window of the Benz. She peels away the windshield and sticks her head in. Julia's not inside. Kyle finds a lever beneath the dash and pulls it, opening the TRUNK, then climbs over the back of the Benz, onto a stack of BOXES OF MAIL, and opens the trunk. Julia's not here either. Kyle slams the trunk shut. Fuck. To her right is another row of bins. She climbs atop it.", "INT. FORWARD HOLD - LAST ROW OF BINS - CONTINUING Instantly, she sees something that makes her eyes go wide : It's right beneath her, wedged in between the forward wall of this hold and the row of bins she's currently atop. David's casket. It sits on a pallet, well - secured, three feet below her. Above it is a bare bulb that's shorting a bit. Kyle ca n't move at first, can barely breathe. Then she hears something. a THUMPING SOUND. It seemed like it came from inside the casket. Maybe it was turbulence, or Kyle's imagination. But she's certain that she just heard a THUMP coming from within the casket itself. as if someone were inside, trying to get out. God, no. KYLE -LRB- CONT'D. -RRB- -LRB- pure dread. -RRB- Julia? Of course, there's no reply. Just the roar of the engines. Kyle crawls closer. and it happens again : a THUMP from within, strong enough to make the casket seem like it just hopped an inch or two. Good God, Julia's in there. KYLE -LRB- CONT'D. -RRB- Julia!? Kyle crawls over the edge of the bins, dropping onto the casket itself. Julia's inside. I know it. There's a tiny bit of floorspace here, enough to stand in. Kyle punches a few digits into the casket's ELECTRONIC LOCK. but she's rushing, and terrified. So she enters the wrong numbers. The electronic window flashes a tiny RED LIGHT. KYLE -LRB- CONT'D. -RRB- Shit! -LRB- to the casket, loud :. -RRB- I'm here, Honey. Mommy's here. She tries again. Another THUMP can be heard from within, flustering her. That yields another red light. Everything feels frantic. She tries the electronic lock a third time, begging her fingers to get the combination right. They obey. The light goes GREEN. The casket unlocks. She throws it open. revealing the corpse of her husband, David. and nothing else. Kyle stares, awed. Somehow the last thing she expected to find in here was David. But here he is, in the shuddering belly of an airplane. First time she's seen him since his death. And Kyle, at last, breaks down. A sob rumbles up her throat before she can stop it. Tears fill her eyes, her mouth. Breathing suddenly feels difficult. KYLE -LRB- CONT'D. -RRB- -LRB- barely audible. -RRB- David. Kyle's head drops, her body sags against the casket. KYLE -LRB- CONT'D. -RRB- You have to open your eyes, Baby. Does n't make much sense, talking to a dead body. But she ca n't stop herself. More sobs come ; she's powerless to stop them. She grabs David's hand, touches his face, her body shaking. KYLE -LRB- CONT'D. -RRB- I need you to come back. I'm so scared. -LRB- can barely say it :. -RRB- I ca n't find Julia. The words come out in spasms. KYLE -LRB- CONT'D. -RRB- I ca n't find her, Honey. I'm so scared. Kyle's a mess, grabbing at David, desperate, until : CARSON -LRB- O.S. -RRB- That's touching. Really. Kyle's eyes snap open. Every part of her stiffens. She turns. to find Carson, looking down from that last row of bins, gun poised. And here's Kyle, eyes drenched. She begins to shut the casket, but : CARSON -LRB- CONT'D. -RRB- Do n't. That was odd. Sounded like Carson just told her not to shut the casket, which would n't make much sense. Kyle freezes, mid - motion. as Carson drops down beside her, bearing a wry smile. They're face to face now. CARSON -LRB- CONT'D. -RRB- Do n't. Then Carson does something even odder : with his gun still pointed at Kyle, Carson reaches into the coffin, and begins to tear the lining out of its lid. KYLE What're you -? Just then, four chunks of CLAY fall from the casket's lining, landing on David's body. which makes Kyle's jaw drop. because the `` clay'' is actually plastique. EXPLOSIVES. CARSON Thank you. Carson gathers them with his free hand, then reaches back into the lining of the casket - this time removing a tiny device from it. A detonator. Kyle's too floored to speak. That pleases Carson. He pockets the detonator and shuts the casket. Just like that, David's gone again. The light goes red. It's all a blur. Then Carson climbs atop the casket. and reaches for a HATCH that resides five feet above the casket, built into the forward wall of this hold. He opens the hatch and pulls himself halfway inside, his legs dangling over the casket. And now Kyle understands. because she knows exactly where that hatch leads to :", "INT. AIRJET - \"ELECTRICAL BOX\" - CONTINUING the tiny room containing converter boxes for EVERY SINGLE SYSTEM OPERATING THIS PLANE. Hundreds of black boxes. Behind one of them, Carson now casually affixes those four chunks of plastique - fitting each with a tiny electronic RECEIVER from his pocket. Then he pops himself back through the hatch, shutting it.", "INT. FORWARD HOLD - AT DAVID'S CASKET - RESUMING Kyle's stunned. CARSON -LRB- CONT'D. -RRB- Go. KYLE Where's Julia? CARSON I put her to sleep, just like I put you to sleep. Do what I tell you and you'll get her back, wide awake. He prods Kyle toward those bins. But Kyle resists. KYLE When? CARSON Move. KYLE When do I get my daughter back? Carson pauses, fighting to keep a grin off his face. until : CARSON About fifty million dollars from now. That's all he'll say, but it's enough. He shoves her toward the bins.", "INT. AIRJET - ELEVATOR - ASCENDING - MOMENTS LATER This was a tight fit when Kyle was alone. Now Carson's here too. They're close enough to kiss. Her hands are cuffed. Kyle studies him, as if her brain ca n't integrate all this. CARSON Yes? KYLE I'm just trying to. I do n't understand how you could do this. CARSON You're right. It's appalling. I'm ashamed of myself, truly. The elevator stops. The doors start to open. Carson shoves her out.", "INT. AIRJET - UPPER DECK - CONTINUING Kyle stumbles out of the elevator. Here's what she sees : The lights on this deck have just been restored. Video screens are beginning to flicker. OXYGEN BAGS still dangle. And every single person on this deck is now staring at her. Kyle, the delusional villain, in HAND - CUFFS, with a bleeding face that makes her look like a boxer. The glares coming her way are murderous. Beside her is Carson - the sturdy, steady Air Marshall. He leans in close, and : CARSON -LRB- CONT'D. -RRB- -LRB- for Kyle's ears only. -RRB- Obviously, not a word. Or we will kill her. With that, he shoves her forward. as one of the passengers begins to APPLAUD. It's derisive at first, evoking a few laughs. But then other passengers join in. Ahmed rises, loving it. Jarrah is silent. -LRB- So is Elias, mostly because his NOSE has now been bloodied. -RRB- The applause spreads, filling the Deck. Kyle begins a McVeigh - like walk toward the ten empty rows in back. Carson, her escort, gets a few pats on the back. They pass a very pissed - off Captain Rich, who has just emerged from fixing the wiring on the panel above that lavatory. Rich eyes Kyle without a word.", "INT. AIRJET - UPPER DECK - BACK ROW - CONTINUING Kyle reaches the back row, where she stops and turns. The applause stops too. leaving a sudden, eery silence. Here are the Loud Family, and Lisa, and Rich, and Fiona, and hundreds of others, all staring at her. Stefan, too. -LRB- But Stefan ca n't quite meet Kyle's eye. -RRB- Kyle looks them all over, dying inside. Then she sits, with ten empty rows standing between her and the rest of the passengers, disappearing in the tall seatbacks as a child would. And oddly, no one feels like cheering anymore. Passengers face forward again, returning to their movies or books, wondering why they do n't feel victorious. Even the Louds seem non - plussed. Jarrah opens a magazine. Captain Rich heads back to the cockpit, his face a mask. Carson sits beside Kyle, who tilts her head to look down the aisle, the length of this plane, at her fellow passengers. Row after row of them, people who have no idea what is sitting in that hold beneath them.", "INT. AIRJET - \"ELECTRICAL BOX\" - RESUMING We TRACK THROUGH this tiny space, looking at all the systems an explosion in here would cripple : nav, comm, auto pilot, power, hydraulics. Everything. Instant disaster. CONTINUE TRACKING through this shadowy, H - shaped room. Those chunks of plastique sit behind an electrical panel, completely obscured from view. Then we come to a stop. having found the two dark pockets extending from the catwalk : the plane's NOSE - CONE. In these unlit pockets we find struts, insulated by that lime green poly - paper. And some wire - ducts. and one four year - old girl. Julia has been wedged into this pocket of shadows, alive, sleeping, hands tied, jostled by mild turbulence. We. FADE TO BLACK. and come back in on that bulkhead VIDEO MONITOR : a tiny PLANE, crossing an animated globe. We're now 37 MINUTES from our destination. Then we hear a DING, and :", "INT. AIRJET - UPPER DECK - GALLEY #2 - NIGHT Stefan speaks into that P.A. SYSTEM again : STEFAN -LRB- INTO P.A. MIC. -RRB- Ladies and Gentlemen, we've now begun our descent into the New York area and the Captain has once again illuminated the fasten seatbelts sign. Should be arriving at Kennedy shortly.", "INT. AIRJET - UPPER DECK - DOLLYING TO ROW 35 - CONTINUING We DOLLY THROUGH the Upper Deck, passing Fiona as she grabs a coat from an overhead bin for a passenger, arriving at :. Kyle, still seated beside Carson. still in the dark. STEFAN -LRB- P.A., CONT'D, O.S. -RRB- We have some information concerning connecting flights. All passengers on Pan World Flight 18 to Los Angeles will be departing via Gate B - 3. Pan World Flight 203 to Boston will be departing via Gate B - 7. And all passengers remaining on this flight and continuing to Miami will be asked to deboard temporarily so that we may service the aircraft. And just like that, Kyle's eyes go wide. She gets it. STEFAN -LRB- P.A., CONT'D. -RRB- As always, a Pan World representative will be at the gate as you exit the aircraft should you have any questions. End of announcement. Kyle eyes Carson. And there's that fucking grin of his again. KYLE How many people will be aboard? Do you know? CARSON We're not standing in the middle of a parking lot, okay? Keep your voice down. KYLE That's what this is, right? We land, I get interrogated, the plane takes off again, and I say I've planted a few bombs in the hold. -LRB- Carson eyes her. -RRB- How many people will be aboard? CARSON ` Bout five hundred, last we checked. What's it to ya? Carson shows her A SLIP OF PAPER WITH TWENTY DIGITS ON IT. Then he puts it into the inside pocket of her jacket. CARSON -LRB- CONT'D. -RRB- Here's the account number the money gets wired to. Odd, having his hand up against her body like that. KYLE What if I tell them the truth instead? CARSON Huh? KYLE What if I tell them the truth? Carson considers that, almost amused. CARSON Well, I suppose they'll check the plane and find the plastique. Then they'll ask me how long you were alone in that hold, and I'll tell them certainly long enough to have put it there. Mechanical Engineer, a lady who'd sure as hell know how to bring down an airplane, distraught over her recent tragic losses, et cetera. And you'll do time, and I'll be out a boatload of money, and your daughter will be dead. -LRB- no reply. -RRB-. that is, unless you think they're likely to take your word over mine. Kyle eyes him. One of those moments in which you realize that you're looking at evil itself. And it's only inches away. KYLE My husband did n't jump off that building, did he? -LRB- Carson smiles. -RRB- He did n't fall off it either. CARSON No. He flew off it. He watches her for a reaction, enjoying it. We.", "EXT. KENNEDY - RUNWAY - ESTABLISHING - DAWN The Airjet touches down at Kennedy.", "INT. AIRJET - UPPER DECK - BACK ROW - SAME The welcome screech of tires hitting runway brings a palpable relief - people happy as hell to have this flight over with. Kyle reacts too - but without a hint of relief.", "INT. AIRJET - MAIN DECK - LEFT DOOR #1 - MINUTES LATER The jetway is attached now, and passengers are beginning to file out. Fiona and Estella offer `` Bye - Bye'' smiles.", "INT. AIRJET - UPPER DECK - ROW 35 - SAME Kyle sits, as her fellow passengers file toward those stairs. Lisa turns before descending, throwing a look of pity/compassion in our direction. Kyle stares blankly. CARSON Did you want me to get her card for you? Kyle's silent. Carson chuckles. Jarrah gets up from his seat now, takes one last look at Kyle - as if seeing her one more time might help him to understand her. Then he too is gone.", "INT. AIRJET - UPPER DECK - LEFT AISLE - MOMENTS LATER The plane is EMPTY now. Captain Rich makes his way aft, toward Kyle and Carson.", "INT. AIRJET - UPPER DECK - ROW 35 - CONTINUING Rich stops a few aisles away, addressing Carson : RICH We're all clear now. CARSON Thank you, Captain. Rich nods to Carson, one professional acknowledging another. RICH Goodbye, Ms. Sherin. You probably wo n't believe this, but I wish you well. Kyle smiles thinly. Not much to say. Rich turns, heading back down the aisle. Then he's gone. It's just Kyle and Carson now ; the rest of the plane is empty. Carson pulls out his cel - phone, dials. CARSON -LRB- INTO PHONE. -RRB- We're all clear now. They've got us at Gate Twelve. -LRB- gets an answer. -RRB- Fine. Pull a car up. I'll bring her down to you. -LRB- a beat. -RRB- No. She wo n't be any problem. Carson ends the call. Kyle eyes him, almost admiringly. CARSON -LRB- CONT'D. -RRB- Okay, they're coming with a car that's gon na take us to the airport police station. You are not to speak - either in the car or during your questioning. You're not even to ask for a lawyer. I'll be next to you the whole time. In about an hour, this plane'll be up again. Soon as word of it comes to me, I'll give you a sign. At that time you will announce that you've placed explosive charges on board. And you'll issue your demands. Kyle's silent. Carson goes on : CARSON -LRB- CONT'D. -RRB- When the money is wired, your little girl'll be set free. Happy endings all around. Got it? KYLE Where is she now? CARSON She's safe. She's fine. That's all you need to - KYLE Is she still on the plane? CARSON Of course not. KYLE How'd you get her off? CARSON Look, you need to keep your mind clear for the next few hours. I'm not gon na distract you with any kind of unnecessary - KYLE I just wan na know where she is. CARSON She's someplace no one's gon na look, okay? KYLE I wan na know where she is! That hovers for a second. They study one another. KYLE -LRB- CONT'D. -RRB- Where'd you put her? Carson eyes her, irritated. Fuck it. CARSON I put her with your husband. Kyle pauses, thinking she must have heard that wrong. Then she replays it in her head. and notes the sadistic grin on Carson's face. and it all makes an awful kind of sense. Julia. In a casket. A wave of dread hits Kyle like a mallet - a thought so horrid she can barely give it voice. KYLE -LRB- aghast. -RRB- She's not. CARSON Yes. She is. Went in right before we landed. Of all the shocks on this flight, of all the horrors, this one's the worst. Kyle shudders, her eyes locked on Carson. as he looks toward the nearest window with a self - satisfied grin. An instinct tells Kyle to rise, to get to that window. Carson nods, approving the idea.", "INT. AIRJET - UPPER DECK - ROW 35 - WINDOW - CONTINUING She rushes toward the window. Through it she sees the apron of the tarmac : A plain FBI SEDAN approaches. CARGO - GUYS off - load suitcases and golf - clubs. There's that pallet bearing the Mercedes and its smashed window. And David's casket, rolling off a conveyor belt. But now Kyle has to picture Julia inside it. God no. Her legs fail her ; she literally folds toward the floor. Breathing feels impossible. We stay on her, tight on her face, as : CARSON -LRB- CONT'D. -RRB- She'll wake up in about an hour, give or take, and find herself face to face with your husband. You fuck with me, even a little, and she'll die in there - there's about five hours worth of oxygen inside. A four year - old girl, in a coffin with a corpse. It's unimaginable, enough to drive a mother mad. And that's just what it's doing - we can see it Kyle's eyes. She backs away from the window, into the aisle. Carson takes out his phone, casually. CARSON -LRB- CONT'D. -RRB- Now. Let's talk about your exit strategy. She's about to explode. It's coming. CARSON -LRB- CONT'D. -RRB- After the money is wired you're going to - Bang. She goes off : In a blur, she has bolted down the aisle, catching Carson completely off - guard. CARSON Goddammit. He takes off after her, suddenly wishing he weighed less.", "INT. AIRJET - MAIN DECK - TRACKING KYLE - CONTINUING Looking to her left, eyes on that casket, Kyle runs as fast as she can. Her hands are cuffed, that makes things tougher. And she can hear Carson behind her, his footsteps heavy. CARSON -LRB- CONT'D. -RRB- Goddammit! She keeps running. The aisle feels endless. We TRACK HER POV, looking to her left : window, fuselage, window, fuselage. It's like running along a fence. But that casket has vanished now, disappearing under the Kennedy terminal. That makes her run faster, despite the cuffs. Hang on, Julia. I'm coming. I'm gon na get you out of there. Up ahead, those stairs. She leaps six of them at once.", "INT. AIRJET - STAIRS - CONTINUING She lands hard then goes on, flying over the remaining steps.", "INT. AIRJET - MAIN DECK - APPROACHING LEFT DOOR - CONTINUING She emerges onto the Main Deck, heading for the door. just as Stefan emerges from a lavatory ; -LRB- clearly, he'd been hiding in here while the plane emptied. -RRB- First thing he sees is Kyle, barrelling toward him. But Stefan does nothing as she bolts past him. Odd. She races toward the forward door of the aircraft. It's almost within reach now. She keeps running.", "INT. AIRJET - MAIN DECK - APPROACHING DOOR #1 - CONTINUING Kyle's ten feet from escaping. Now five. Now a step. She's at the door, Carson's footsteps growing louder. when Kyle does the last thing on Earth we would ever expect her to do : She stops. The Jetway is right in front of her. Freedom. And Carson is running right up her tail, thundering down this aisle. But Kyle has frozen, right on the threshold of the plane. It's so sudden, so unexpected, even Carson comes to a halt. What the hell did she just stop for? Stefan also seems at a loss. as Kyle turns, still winded from the sprint, eyeing them. An odd, awkward moment. until : KYLE How did you open it? Carson is silent, hoping he just misunderstood. CARSON Beg your pardon? KYLE My daughter. How'd you get the casket open? Carson does n't react. but Stefan does - the tiniest of flinches, in his eyes. Kyle reads him. KYLE -LRB- CONT'D. -RRB- That was the point of all this, was n't it? That nobody could get the casket open but me? -LRB- they're silent. -RRB- So how'd you do it? Carson, at last, does n't have an answer. Kyle moves a few feet from the door, studying him. For the first time in days, she feels awake. Aware. KYLE -LRB- CONT'D. -RRB- Whole time I'm running down this aisle I'm thinking, `` Why are n't they moving faster?''. -LRB- no reply. -RRB- Almost walked right into it, did n't I? One more step, on to the jetway. and you could've shot me CARSON Lady, you've got one hell of an imagination. Again, silence - but Stefan's beginning to look unnerved. KYLE No. You kill me. And the ransom demand comes in anonymously. And my daughter never makes it off this plane. She was never supposed to make it off. -LRB- at Stefan. -RRB- Was she? Stefan reacts, without wanting to. That pisses Carson off. But before he can fire back, his CEL - PHONE RINGS. He grabs it angrily, eyeing Stefan and Kyle. CARSON -LRB- CONT'D. -RRB- -LRB- into phone. -RRB- Yeah? -LRB- a beat. -RRB- We're on our way. Be right down. KYLE -LRB- at Stefan, again :. -RRB- Was she? Stefan knows better than to answer. Carson hangs up, approaches Kyle. CARSON Let's go. KYLE I ca n't. My daughter's still on board. WHAM. Carson just unloaded on her, a single right hook to the jaw. Kyle is knocked sideways, her ribs slamming into an armrest. She falls to the floor, wincing. End of discussion. CARSON Okay. How ` bout now? but Kyle, face down, hissing through the pain, goes on : KYLE FBI's gon na have the real manifest, fellas. They're gon na see that she boarded the plane. CARSON Goddammit. A sickening THUD, as Carson kicks Kyle in the stomach. She sucks for air, but : KYLE Then they're gon na. call the hospital in Germany, find out she. was never admitted there. CARSON Jesus. This is pathetic. Carson grabs her, yanks her up to her feet. KYLE And who's in the middle of all those phony faxes? -LRB- at Stefan. -RRB- You, Dummy. This is all working. Carson can see that. STEFAN -LRB- shaky. -RRB- What's she talking about? CARSON Nothing. Carson's cel - phone rings again. Kyle keeps working Stefan : CARSON -LRB- into phone. -RRB- Yeah? UNSEEN FBI AGENT -LRB- THRU PHONE. -RRB- What the hell's going on up there? Carson's about to lose his cool. Kyle just keeps working Stefan : CARSON -LRB- INTO PHONE. -RRB- I'm on it, okay?! The lady fucking pissed herself, I thought you'd appreciate my getting her cleaned up first! Jesus! KYLE It's over, do n't you get that? There is n't gon na be any money. So why not just tell me where she is? Carson snaps the phone off, as : KYLE -LRB- still working Stefan :. -RRB- You do n't really wan na kill a little girl, do you? CARSON Hey! I'm getting really sick of hearing about that fucking kid! He grabs Kyle, shoves her forward. CARSON -LRB- CONT'D. -RRB- Now let's go! He's big, angry, and armed. Smart thing would be to do as he says. But Kyle slips from his grasp. and she sits. in a big fat First Class seat. KYLE No. Carson halts, every part of him tensing, trying to contain his temper. He extracts his gun, and points it right at her. CARSON I will shoot you. KYLE No you wo n't. That'd turn this whole plane into a crime scene ; Police would impound it for days. -LRB- at Stefan :. -RRB- It's why he has n't shot you yet either. STEFAN Gene? CARSON The plan's in place. Nothing's changed. She's just trying to rattle you. STEFAN It's working. Carson turns, just for a second, to assuage Stefan. CARSON Listen. You're starting to panic - That's all the distraction Kyle needs. Uncoiling as if shot from a cannon, she erupts out of that seat and bull - rushes Carson, knocking him forward, his head slamming into an overhead bin, dazing him. He grabs her by the hair. They fall to the floor together clumsily, Carson right on top of her - another horrible THUD, driving the air out of Kyle's lungs. Her eyes flutter. CARSON -LRB- CONT'D. -RRB- Okay. Had enough now? -LRB- Kyle's near passing out. -RRB- Had enough? She nods, acquiescing. Carson rises. CARSON -LRB- CONT'D. -RRB- Good. We're going to de - board now. You and me. And we're going to get in that car, just like we planned. But instead of obeying, Kyle just smiles. And Carson pauses, thrown. CARSON -LRB- CONT'D. -RRB- Something funny all the sudden? -LRB- Kyle nods. -RRB- Let's hear it. Then Kyle rises. and we begin to get the joke : She lifts up her cuffed hands, revealing something that's been palmed inside the right one : Carson's detonator. And her thumb is right on the pin. Stefan gasps. But Carson betrays no reaction at all. CARSON -LRB- CONT'D. -RRB- What're you gon na do, blow us all up? KYLE Yeah. CARSON That seem like a good idea to you? KYLE Have n't you heard? I'm crazy. Down goes her thumb, beginning to depress the pin. but Carson still wo n't flinch : CARSON Go ahead. First one to die'll be your little girl. Kyle does n't react. but Stefan does. Completely unglued now, he begins to back away. He wants out. CARSON -LRB- CONT'D. -RRB- Where the hell're you going? -LRB- Stefan's silent. -RRB- Hey. I'm talking to you. Not another word. Stefan just backs right out that door, on to the jetway. Then he's gone. and by the time Carson turns, Kyle has taken off in the other direction, heading aft. Now Carson looks murderous. Kyle has twenty yards on him. He takes off after her.", "INT. AIRJET - MAIN DECK - STAIRS - CONTINUING Kyle dashes up the stairs, Carson pursuing.", "INT. AIRJET - UPPER DECK - CONTINUING She turns, racing through Business Class. Up ahead is the Flight Deck. its grenade - proof door invitingly open. She runs as hard as she can. The door's twenty yards away. Carson's on her tail, and gaining. Ten yards away. Five yards. Legs churning. There's the door, almost within reach. Carson dives at her heels. He catches just enough of her to trip her up. She stumbles. But she regains her balance and crosses the threshold into the cockpit. Carson lunges.", "INT. AIRJET - UPPER DECK - COCKPIT - CONTINUING She tries to shut the grenade - proof door. Carson's fist keeps it from closing. She steps on his wrist. His fist opens. She slams the door on his fingers. They retract. She shuts the door, locks it, leans against it, looks through its PEEPHOLE, at a distorted view of : CARSON -LRB- pounding on it. -RRB- I'll fucking kill you! There's a thick THREE - RING BINDER sitting on a jumpseat to her left. She grabs it - we do n't know why - and slips out of this cockpit, into :", "INT. AIRJET - PILOT'S SLEEPING QUARTERS - CONTINUING A tiny room, right off the cockpit, for pilot or co - pilot to rest in during long flights. Kyle enters, climbing on top of a day - bed. Above her, within reach, is another HATCH. She pops it open. Then she places the thick binder between her knees and pulls herself up - not easy with handcuffs on.", "INT. AIRJET - \"ATTIC\" - CONTINUING Kyle makes it through. Then she turns, and sits, her legs dangling. She's now in the forwardmost point in the attic. She grabs the thick binder from between her knees, lifts it to her chest. and hurls it into the darkness of the attic, as far aft as she can.", "INT. AIRJET - UPPER DECK - SAME Carson is still at that grenade - proof door. until he hears a thick THUD overhead : the binder, landing. Now we get it : taking the bait, he moves away from the door, toward the sound.", "INT. AIRJET - PILOT'S SLEEPING QUARTERS - RESUMING Quietly as possible, Kyle lowers herself out of the attic and back into this tiny room again.", "INT. AIRJET - UPPER DECK - SAME Carson drifts aft, listening for any sounds from the attic overhead, any clues to Kyle's location. All he has to do now is get to the LAVATORY that gave her access to the attic during the flight. Up ahead are the lavatories, right by the stairs. He approaches. But just as he gets there : FBI AGENT -LRB- O.S. -RRB- What the hell is going on up here?! Carson - halts, turns. Here come the TWO FBI GUYS that called him from the tarmac. They've entered the plane now. And they look pissed, emerging from the Main Deck. FBI AGENT -LRB- CONT'D. -RRB- You guys watching a movie or something? Jesus. Okay. New wrinkle. Carson will have to adjust : CARSON I lost her. FBI AGENT What?! CARSON She got away from me. FBI AGENT You got ta be kidding. CARSON She got to the elevator. I think that puts her in the rear hold. FBI Guys eye one another, incredulous. FBI AGENT Is she armed? CARSON ` Course not. They eye him : God, you're a moron. It's withering. FBI AGENT -LRB- at Agent # 2. -RRB- Get the Forward hold. I'll go aft. -LRB- at Carson :. -RRB- You stay here, check the cabins. FBI Guys head back down those steps without awaiting a reply, just as Carson had intended. He remains in place, eyes up, hoping to hear Kyle moving in the attic again.", "INT. AIRJET - COCKPIT - CONTINUING She looks through the peephole in the grenade - proof door. as Carson ducks into a corridor, by the lavatories.", "INT. AIRJET - UPPER DECK - FLIGHT DECK - CONTINUING The cockpit door opens, tentatively. Kyle peeks out. And she freezes, hearing him open a lavatory door. But she does n't hear it shut. She slinks forward, heading for the stairs.", "INT. AIRJET - UPPER DECK - LAVATORY - CONTINUING Carson climbs onto the toilet. Overhead is the same ceiling hatch that Kyle went through during the flight.", "INT. AIRJET - UPPER DECK - APPROACHING THE STAIRS - SAME Kyle nears the top of the steps. She's going to have to pass right by the lavatory that Carson just entered. which would be fine if he'd shut the door. But it's open. She can see it.", "INT. AIRJET - UPPER DECK - LAVATORY - RESUMING Carson pops out that ceiling panel and begins to pull himself up. just as we catch a glimpse of Kyle in the bathroom mirror, slipping past. Kyle freezes. until his legs vanish into the attic. Christ that was close. She pads to the top of the stairs.", "INT. AIRJET - REAR HOLD - SAME FBI Agent emerges from another cramped elevator, into the REAR HOLD. -LRB- We have n't been here before. -RRB- It's empty, its cargo door wide open - which means that if their `` suspect'' made it this far, she could be anywhere on the whole Goddamn tarmac by now.", "INT. AIRJET - FORWARD HOLD - SAME FBI Agent # 2 emerges, to find that the Forward Hold is empty as well. It also leads to a wide - open tarmac.", "INT. AIRJET - MAIN DECK - CONTINUING Kyle emerges from the stairs, onto the Main Deck. She heads for First Class.", "INT. AIRJET - \"ATTIC\" - SAME Carson crawls toward that ATTIC ELECTRICAL PANEL - just as Kyle did, albeit less gracefully. Then he halts. Looking for her, listening for her. No signs of her yet. He crawls forward.", "INT. AIRJET - MAIN DECK - FIRST CLASS - CLOSET - CONTINUING Kyle hurries into First, throwing open the door of a CLOSET. Stefan went through here during his bogus search, hours ago. Kyle follows the same steps, pulling on a RING in the floor, lifting up a HATCH. revealing a LADDER below.", "INT. AIRJET - \"ATTIC\" - RESUMING Carson is on his hands and knees, crawling past the SHORTED ELECTRICAL WIRING. when he stumbles into something loose. He grabs for it :. a thick 3 - ring BINDER, which belongs in the cockpit. Just like that, Carson knows : he's been tricked. She's not up in this attic. Goddammit. He turns around in the confined space, and heads for the opening that will lead him back to the lavatory.", "INT. AIRJET - MAIN DECK - CLOSET - CONTINUING Clock's ticking now. Kyle slips through the floor hatch. She'll shimmy down the ladder.", "INT. AIRJET - LAVATORY - CONTINUING Carson wedges himself through that too - tight opening again, moving too quickly. He LOSES HIS GRIP, falling clumsily. His ankle turns as his foot slips off the toilet, which sends him slamming into a wall. CARSON -LRB- pained. -RRB- Fuck!", "INT. AIRJET - LADDER TO \"ELECTRICAL BOX\" - CONTINUING Kyle makes her way down the ladder, but the cuffs on her hands make it impossible to hold that HATCH open at the same the time. So it SLAMS SHUT above her, a loud noise.", "INT. AIRJET - UPPER DECK - LAVATORY - RESUMING Carson's just about to slam his fist into a wall. when he hears the sound of that HATCH, slamming shut. It tells him where Kyle is. Gun drawn, he exits the lavatory.", "INT. AIRJET - LADDER TO \"ELECTRICAL BOX\" - CONTINUING Kyle reaches up, LOCKING that hatch from below. Then she drops down the ladder.", "INT. AIRJET - \"ELECTRICAL BOX\" - CONTINUING Upon reaching bottom, Kyle turns. We're back in this cramped, H - Shaped room again. Those CONVERTER BOXES surround her. An electrical hum hovers. She stands on that thin catwalk. To her left is the interior of the nose - cone. We know that Julia's been stowed there ; we've seen her. But Kyle does n't know that. All she knows is that the plastique is to her right - affixed beside the HATCH that leads to the Forward Hold. So that's where she goes. She heads for the hatch. There's an unlit pocket of space beside it. Julia could be there. KYLE Julia? Honey? -LRB- no one replies. -RRB- Honey? Kyle crouches down, into that pocket, close enough to brush up against the plastique that's been affixed here. She has to use her hands as eyes down here - it's that dark. But she does n't come upon her daughter.", "INT. AIRJET - UPPER DECK - STAIRS - RESUMING That ankle is definitely sprained, maybe worse. Slowed by it, and mad as hell now, Carson descends the stairs leading to the Main Deck.", "INT. AIRJET - \"ELECTRICAL BOX\" - RESUMING Kyle emerges from shadow, returning to the catwalk. KYLE -LRB- CONT'D. -RRB- Julia? In front of her now is the nose - cone, another pocket of unlit space, occupied mostly by STRUTS and WIRE - DUCTS. Kyle crosses toward it.", "INT. AIRJET - MAIN DECK - RESUMING Carson hobbles toward that closet in First.", "INT. AIRJET - NOSE CONE - RESUMING Kyle crawls into the nose cone. Darkness. KYLE -LRB- CONT'D. -RRB- Julia? Honey? Can you hear me? Then, she gasps : There's Julia, where we saw her before. Bound. Gagged. Asleep. It's almost too much to take in. But she grabs the kid, pulling her close.", "INT. AIRJET - MAIN DECK - FIRST CLASS - CLOSET - RESUMING Carson arrives, gets to that hatch, pulls on the ring. The Hatch does n't move. It's locked. Fuck.", "INT. AIRJET - NOSE CONE - RESUMING Kyle hears the tugging on that hatch door. She grabs Julia again complicated by having her hands cuffed. KYLE -LRB- CONT'D. -RRB- C'mon, Honey. We got ta go. Julia does n't answer. She's still out.", "INT. AIRJET - MAIN DECK - FIRST CLASS - CLOSET - RESUMING Enough of this shit. Carson AIMS HIS GUN at the locked hatch.", "INT. AIRJET - \"ELECTRICAL BOX\" - CONTINUING Kyle carries Julia onto the catwalk, when BANG! Carson's gunshot, startling the hell out of her. Kyle knows she has no time now. She turns to her left : There's the HATCH that we know will lead her to the Forward Hold. Those four chunks of PLASTIQUE are affixed beside it. Kyle stops. and eyes them. as that HATCH above her is thrown open. Here comes Carson.", "EXT. TARMAC - SAME There's a LUGGAGE CONVEYOR BELT leading from the Rear Hold to the tarmac. FBI Agent walks down it. To his left, FBI Agent # 2 does the same thing, emerging from the Forward Hold. They look to one another, indicating : `` I found nothing.'' Now what? We blow by them, as we TILT UP and PUSH IN, through the open Forward Hold. toward the elevated hatch through which Carson climbed mid - flight to plant the plastique. and right on the other side of that hatch, we find :", "INT. AIRJET - \"ELECTRICAL BOX\" - CONTINUING Kyle huddles Julia in a darkened corner, by that Hatch Door. as Carson descends on metal rungs from the closet above. His feet hit the catwalk, gun drawn. Converter boxes on all sides of him. But he knows where Julia is, because he put her there himself, eight hours ago : the nose cone. He creeps toward it. He leaves the catwalk now, crouching down into the nose - cone, a dark pocket of shadows, ready to kill them both.", "INT. AIRJET - \"ELECTRICAL BOX\" - BY THE AFT HATCH - SAME Fifteen feet away, Kyle braces herself. She ca n't see Carson ; there are TWO WALLS of electronic converter boxes between them. She ca n't hear him either ; the hum down here is too great for that. But she knows where he is.", "INT. AIRJET - NOSE-CONE - SAME Carson leans in, expecting to find Kyle and Julia. But Kyle and Julia are n't here. What the hell? Then he turns. and finds something he was n't expecting to find in this nose - cone : His four chunks of plastique. They've been moved. They're now an inch from his face. Oh shit.", "INT. AIRJET - \"ELECTRICAL BOX\" - BY THE AFT HATCH - RESUMING Kyle covers Julia's head, then hits the detonator. And everything in here goes to Hell. The light is blinding.", "EXT. TARMAC - OUTSIDE THE PLANE - CONTINUING The EXPLOSION erupts outward from the nose, knocking those two FBI Agents to their knees.", "INT. AIRJET - \"ELECTRICAL BOX\" - RESUMING Carson is blown to pieces ; the catwalk comes loose ; converter boxes are shaken from their cells ; smoke fills the box. Kyle absorbs some shrapnel, shielding Julia from it.", "EXT. TARMAC - BENEATH THE AIRJET - CONTINUING The plane's NOSE - GEAR collapses, sending the beast nose - first to the concrete. GROUNDS - CREW MEMBERS scatter. The JETWAY tears loose. The FBI Guys watch as it slams into their sedan.", "INT. AIRJET - MAIN DECK - FIRST CLASS - RESUMING Everything is thrown FORWARD now, everything topples. Carts come loose and fly down aisles.", "INT. AIRJET - \"ELECTRICAL BOX\" - RESUMING Kyle just hangs on, going for the ride as the nose of the plane thuds toward the ground. She and Julia slide forward. Then, impact - the nose hitting concrete. The windshield of the Airjet shatters, sending shards. Kyle and Julia land on the tarmac - with this creaking, hulking aircraft now on top of them. Then, oddly, SILENCE. The plane stops shuddering, its nose now flat on the concrete, its tail in the air. Kyle slumps to one side, spent. Julia's still alive. It's over. FADE TO BLACK. and come back in. on Kyle Sherin - who sits, no longer numb.", "INT. KENNEDY - HANGAR - LATER We're tight on Kyle, exactly matching the angle with which we first saw her - in that empty Berlin sUbway station, just last night. but that thousand - mile stare is gone now. She is alert, awake. Present. Maybe that's because Julia is asleep in her arms. Kyle strokes her daughter's hair, gently. We ca n't tell yet where we are ; there's just a bare wall behind them. But Kyle's sitting on a bench of some kind. until : FBI AGENT -LRB- O.S. -RRB- Ms. Sherin? Kyle looks up. Here's that FBI Agent, standing before her. And we get our bearings now : we're in an EMPTY HANGAR here at Kennedy, along with every other passenger from Pan World # 83, and their luggage. Kennedy has been in SHUTDOWN MODE for an hour now, descended upon by COPS, FBI, FAA. Exits have been closed. Runways too. Around us we see Jarrah, The Louds, Elias, Captain Rich, Fiona - all of them submitting to questioning by authorities. FBI AGENT -LRB- CONT'D. -RRB- -LRB- gently. -RRB- Whenever you're ready, Ma'am. Kyle nods, and rises, Julia remaining on her shoulder. Up ahead is a plain white VAN. The FBI AGENT leads her to it. which means she's going to pass through a sea of her fellow passengers now. Every eye, of course, follows her as she goes. The Louds stop squabbling. Jarrah turns away from the FAA GUY who's been interviewing him. Rich, Fiona, they all watch. as Kyle passes by, carrying a little girl that each of these people had thought to be imaginary, not long ago. Her eyes meet with Jarrah, and Rich, and Fiona. Silent moments of mutual respect. Mr. Loud starts toward her, to say something, then thinks better of it. And Kyle continues along. until she feels something, stirring on her shoulder : Julia, just beginning to awaken now. Her eyes open slowly, groggily. And Kyle stops. Julia looks around, made instantly disoriented by this hangar, and all these people, and the luggage on the ground. KYLE -LRB- softly. -RRB- Hey. Julia does n't answer at first. still a bit lost, and very confused by Kyle's bruised face. Who are all these people? And why are they staring at me? JULIA Mommy? Kyle touches Julia's face, gently. KYLE I'm here, Honey. I'm right here. With that, Kyle heads for the van and climbs in, Julia still on her shoulder.", "INT. VAN - MOVING - CONTINUING The van pulls away, giving Kyle one last look at Rich, and Fiona, all of them. Then they're all left behind. Kyle faces forward, cradling her little girl. The van emerges into daylight. We. FADE TO WHITE - THE END" ]

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[ "EXT. BELEM STREETS - NIGHT TITLE CARD. BELEM BRAZIL - JULY. A taxi careens down narrow roadways at breakneck speeds.", "INT. TAXI - NIGHT In the back seat is WHITTLESLEY. Early 40's, the wreck of a once handsome man. Unshaven. Sweat stained. Rail thin. Scratches on his arms, a fresh scar on one cheek. As the taxi roars downhill towards the harbor, Whittlesley leans over the front seat. -LRB- Italics indicate Portuguese to be subtitled -RRB- WHITTLESLEY Faster! We wo n't make it. DRIVER You want to die? Whittlesley pulls out A KNIFE, puts it to the driver's jugular vein. WHITTLESLEY Do you? Sweat pouring down his brow, the driver re - doubles his speed.", "EXT. BELEM STREETS - NIGHT The taxi swerves around a corner, nearly crashing into a fruit cart, flies out of sight.", "EXT. HARBOR - BELEM - NIGHT Light rain obscures the bulky outlines of tethered freighters. We hear faint laughter leavened with Portuguese phrases, distant Calypso music from waterfront bars. One of the smaller boats, the SANTA LUCIA, is loading as the TAXI fishtails to a halt. Whittlesley gets out, sees the boat still at dock. His face floods with relief. WHITTLESLEY Thank God. He tosses a handful of bills into the driver's lap, sprints up the pier as the driver shouts curses after him in Portuguese. Whittlesley shoves past the dock hands as the last load goes onto the Santa Lucia. The boat's engines churn to life. WHITTLESLEY I need to speak to the captain! Where is he? The sailors hold Whittlesley back. WHITTLESLEY Get your hands off me! I'm trying to save your lives, you fools! Several crew members murmur the word `` loco''. Hearing the commotion, a squat man wearing a billed hat and smoking a cigar approaches. CAPTAIN FRANCO. FRANCO American? WHITTLESLEY Yes. Thank Christ somebody speaks English. I'm Dr. John Whittlesley. You have some crates of mine on board. They were shipped by mistake to the Natural History Museum. We have to get them off the boat. FRANCO You have I.D? Whittlesley runs a trembling hand through his hair, trying to keep control and appear reasonable. WHITTLESLEY No. Let me explain. I was on an expedition for the museum on the Upper Xingu. Something horrible happened. I'm the only one who got out alive. I lost everything, my I.D., everything. I have to make sure no one else dies. The crates, the crates were sent out before we knew. There's something unspeakable inside. If your boat leaves harbor with those crates on board, I ca n't be responsible. My God, if they reach New York. Whittlesley's fists clench spasmodically. Franco looks to his men. FRANCO Loco. WHITTLESLEY No! I'm not crazy! As God is my witness, I'm telling the truth. Franco barks an order and several sailors grab Whittlesley by the arms. They start to lead him back to shore. WHITTLESLEY Do n't do this! You have to believe me. Your lives are in danger. The sailors laugh. But with an almost super - human strength born of desperation, Whittlesley throws them off. He pulls out his wallet. WHITTLESLEY Cash. Cash, you see? American money. Whittlesley throws the money down on the deck. The breeze scatters the bills across the bow and all the men, including Captain Franco, scramble for the money, chattering in Portuguese. While they are occupied, Whittlesley slips by unnoticed and disappears below deck.", "INT. HOLD - SANTA LUCIA - NIGHT Whittlesley ducks between cages of goats, boxes of farm equipment, his movements jerky with panic. As he continues searching, the camera moves past him, into the darkness of the hold. We hear Whittlesley mumbling between low, ragged breaths. At the back of the boat the camera finds. A STACK OF CRATES. clearly labeled NATURAL HISTORY MUSEUM. Move in on these as. The CRATES VIBRATE. The boat has started to move! Whittlesley stands bolt upright, realizing what's going on. WHITTLESLEY No! Too late. He turns to run back on deck but then stops, sniffs the air. A look of desperation fills his eyes. With one hand he pulls out THE KNIFE, and unexpectedly puts it to HIS OWN NECK. Better to kill himself than face what comes next. The knife touches. A NECKLACE of TWO ARROWS, one gold, another silver. Whittlesley stares wide - eyed into the blackness of the hold. The goats start BLEATING in blind panic. A shaft of moonlight comes through a porthole as the boat turns. The moonlight falls on THE CRATES. Whittlesley's eyes lock onto them and he inches towards them, drawn inexorably closer. closer. WHITTLESLEY No. no. He begins mumbling a prayer. MOVE IN ON HIS EYES. filled with dread as he falls to his knees, staring, always staring at THE CRATES.", "EXT. DOCKS - NIGHT The crew tends to business and the Santa Lucia points out of the harbor, disappears into the night.", "EXT. LOUISIANNA COAST - DAY... TITLE CARD... JUNE Squad cars roar down the back roads, sirens flashing. In the center of the column is an unmarked car.", "INT. UNMARKED CAR - DAY At the wheel is a strikingly dignified and imposing black man wearing a simple, old - fashioned dark suit, narrow black tie, and white shirt. This is SPECIAL AGENT PENDERGAST, FBI. A BACH SONATA for violin and harpsichord plays on the tape deck. Pendergast hums along as he drives. A SMALL TOWN COP rides shotgun. The cop is intimidated both by Pendergast and the morning's events. He sweats heavily as he brings Pendergast up to date. SMALL TOWN COP One of the locals found it at dawn. Did n't believe him'till I saw it myself. Even then I did n't believe it. Scared my men shitless. Me too. I mean. hell. You could smell it a half mile away, Mr. Pendergast. PENDERGAST -LRB- unperturbed. -RRB- Any of your men go on board? SMALL TOWN COP No sir. No way. None of us wanted to, I'm the first to admit it. I said, `` Do n't get within a mile of this thing. It's way to big for us. I'm calling the FBI.'' Pendergast nods his approval, resumes humming along with a particularly intricate harpsichord riff. As always, the man is unflappable and totally calm as he drives.", "EXT. LOUISIANA BEACH - DAY The ocean is still, the air stifling and close. A hot sun beats down on the deck of the SANTA LUCIA. The boat lists at a crazy angle where it has been washed up on the shore. At first glance, it appears to be deserted. A barrel rolls back and forth as the boat is rocked by each successive wave. We hear sirens approaching and the phalanx of squad cars pulls up. Joining them now are TWO AMBULANCES. PENDERGAST gets out along with the others. All of the cops immediately cover their faces, gagging violently at the smell. Pendergast sniffs once and frowns. Apart from this, he does n't react. SMALL TOWN COP -LRB- choking. -RRB- Goin' up - wind if you do n't mind. Pendergast nods. The cops all fall back in revulsion. They watch from a safe distance as Pendergast approaches the ghost ship. His shiny laced wing - tips sink in the sand. He leans down, pulls them off one at a time. He balls both socks, puts them carefully into his shoes and proceeds barefoot towards the boat. Using a piece of driftwood as a plank, Pendergast leans it against the Santa Lucia. With surprising agility, he leaps up the plank to the deck. At the top he touches a rail. It's covered in a DARK STICKY LIQUID. BLOOD. Flies buzz loudly. A LARGE MACHETE lies abandoned in the stern. Chairs are overturned. A DEAD GOAT, eviscerated, lies in the bow. A lifeboat hangs half off the stern. Pendergast moves aft. The COPS watch from the sand below, unwilling to get any closer. Pendergast hears A DOOR slamming open and closed. He follows the noise and sees. THE DOOR TO THE HOLD. He approaches, pushes it open and looks down the stairwell. Below deck are BODIES. stacks of them. They've been TORN TO SHREDS. THE CAMERA MOVES down to one particular man who is nearest the top of the stairs. It's CAPTAIN FRANCO. His face is frozen in a howl of terror. Flies congregate in the eye sockets. With his foot, Pendergast nudges the body over. The skull has been torn open. THERE IS NO BACK TO FRANCO'S HEAD. Silence then we begin hearing sounds of the city. horns, traffic, construction work. SUPER TITLE. NEW YORK CITY, FOUR MONTHS LATER as we. ON A NECKLACE of TWO ARROWS, one of gold, the other silver. The twin to the one seen on Whittlesley. Widen to.", "EXT. ROOFTOP GARDEN - MARGO'S NEW YORK APARTMENT - MORNING And the woman wearing the necklace. MARGO GREEN. She sips her morning coffee as she makes notes on several large FOSSILIZED TEETH. Her hair is neatly combed. No make - up. She does n't need it. She has a natural, unselfconscious beauty and a mind like a steel trap. At Margo's elbow is a small T.V.. A CNN world news report plays. Margo's New York Times is open to the crossword puzzle, which she's been doing rapidly, in ink. Clearly this is a woman who likes order, with a mind that can handle more than one thing at a time. An alarm on her watch beeps and she fills in the last two lines of the crossword puzzle, makes one final note on the fossil specimens, and shuts off the T.V.. She reaches for her back pack and looks out at CENTRAL PARK with remarkably clear eyes.", "EXT. CENTRAL PARK - MORNING HELICOPTER SHOT. Swooping over the fall foliage of the Park, a riot of color and botanical life. The camera picks out MARGO'S BICYCLE making its way along the winding roads, dodging taxi cabs. Margo wears jeans, a work shirt, a fine blue gabardine jacket with a rhinestone DOUBLE HELIX PIN. On her back is a LEATHER BACK PACK which holds her lap top computer. She emerges from the park, catches the green light and rolls up to.", "EXT. MUSEUM OF NATURAL HISTORY - DAY As Margo arrives, the camera moves up and over the building, comes to rest on the imposing turrets, intersecting roof lines, and Gothic arches of the MUSEUM OF NATURAL HISTORY. This is not an ordinary building ; it's a 19th century monument to science and mankind. The structure fills an entire city block. Happy visitors pour into the museum as Margo takes the imposing wide stone steps two at a time. We hear SCREAMS of pleasure and release, the normal raucous noises of a large group of THIRD GRADE CHILDREN. Margo is amused to find herself surrounded by kids. Their teacher, MRS. BEASLEY, a stern woman in glasses with a thick New York accent, calls after them as they all head inside. MRS. BEASLEY Do n't run, children! Stay with your partner and do not run! If anyone runs they will be sent back to the bus! Ignoring Mrs. Beasley, TWO BOYS charge past Margo. HENRY and LARRY. Henry has a buzz cut ; Larry has rasta dread knots. Both are 8 years old, wear high top sneakers and shorts so big they graze their ankles. MRS. BEASLEY Henry! Larry! What did I just say! You walk right this minute! Did you hear me?! Reluctantly, Henry and Larry slow to a rapid race - walk as they reach the huge doorway flanked by two Northwest Coast Indian totem poles. Above the doorway WORKMEN are hanging a LARGE BANNER. It reads : `` SUPERSTITION EXHIBIT. OPENING OCT. 29''", "INT. MUSEUM ROTUNDA/STAIRWELL - DAY The school children burst into a three story space dominated by a life - sized statue of a HERD OF ELEPHANTS. The kids chatter with excitement, look up in awe. Margo nods to a GUARD who smiles as she pins on a plastic I.D. GUARD Morning, Dr. Green. MARGO Morning Joe. Beautiful day. Henry watches Margo pass through the turnstiles without paying. He swaggers over. HENRY You work here? MARGO Yes, I do. HENRY What do you do? MARGO -LRB- leans down, amused. -RRB- I'm an Evolutionary Biologist. What do you do? HENRY Nothing. I'm in third grade. What's a revolutionary what ch' a ma' callit? MARGO Evolutionary Biologist. I study how life on earth evolved over millions of years. HENRY -LRB- brightens. -RRB- Way cool. Then you know where the dinosaurs are. MARGO Fourth floor, West wing, but stay with your class. Mrs. Beasley heads into the museum and Larry and Henry merge with the rest of the kids. Margo turns towards the stairwell, passing. IAN CUTHBERT. Museum Director. a pudgy man in wire rim glasses who dresses and thinks like a banker. Hired for his amazing ability to raise money, Cuthbert is one of a new generation of Museum Directors whose focus must always be on the bottom line. MARGO Hello, Ian. Everything ready for the opening of the Superstition Exhibit? CUTHBERT I'm on my way to get the last piece out of storage right now. MARGO I'd wish you luck but I'm not superstitious. CUTHBERT You will be after tomorrow night. Cuthbert waves merrily. A workman uses a LADDER in the stairwell. Cuthbert is about to walk under the ladder, stops and carefully walks around it instead. Margo smiles, goes on upstairs.", "INT. MUSEUM BASEMENT - DAY Cuthbert enters from the lower stairwell. He is now in one of the hundreds of areas of the museum that are closed to the the general public. He follows a labyrinthine route down a dim passageway lined with rumbling steam pipes. There are storage areas on both sides labeled ORNITHOLOGY, HERPITOLOGY, CENTRAL ASIA EXPEDITIONS, AKELEY EXPEDITIONS, WHALE BONE FOSSILS and so on. Finally Cuthbert comes to a door marked `` WHITTLESLEY EXPEDITIONS 1978 - 95''. Cuthbert pauses and gets out a key, but to his surprise the door pushes open. The lock and doorknob mechanism are both broken off! Cuthbert frowns. CUTHBERT What the? He goes inside.", "INT. WHITTLESLEY COLLECTION BASEMENT - DAY Cuthbert flips on a light to see a tall, narrow space. Stacks of metal shelves reach up into the gloom. Everywhere we see spears, shields, masks, various artifacts. Ancient tribal costumes lie shrouded in plastic like corpses against the walls. And in the middle of the gloom, sitting ominously in the light of a sole hanging bulb are. THE WHITTLESLEY CRATES. The same ones last seen in the hold of the ill - fated Santa Lucia. They are scattered about in disarray. One in particular has been broken open, its contents spread on the floor. Cuthbert mutters in surprise and dismay, kneels by the crate. CUTHBERT No, it ca n't be. Cuthbert feels gently through the packing material, lets out a sigh of relief as he pulls out a figurine. It is a small, beautifully carved statue of A MONSTER crouched on all fours. The room falls totally silent as Cuthbert studies THE RELIC. It's a truly frightening piece. massive, razor sharp claws, large round nostrils, enormous teeth and red rimmed eyes. Suddenly Cuthbert sees a DROP OF BLOOD on his hand! He's been CUT! CUTHBERT Damn. Cuthbert rises, shakes his finger in pain. Blood drips on the floor. He pulls out his pocket handkerchief and wraps the wound. The handkerchief rapidly soaks through. Suddenly a HAND CLAMPS on Cuthbert's shoulder! He's not alone! He lets out a YELP, almost dropping the Relic and spins to see. A MUSEUM GUARD standing behind him. His nameplate reads. BEAUREGARD. He's a gentle young fellow with white blond hair and a rolling southern accent. CUTHBERT Beauregard! You scared me half to death. BEAUREGARD I'm sorry, sir. You okay? CUTHBERT Someone broke into this room. BEAUREGARD Anything missin'? CUTHBERT Does n't look like it. We're damned lucky. This statue is priceless. Cuthbert holds up the RELIC of THE MONSTER. Beauregard stares. CUTHBERT Mbwun. A South American warrior deity. He carries a powerful curse. Every member of the expedition that found this statue, died. Beauregard sees Cuthbert's cut finger. BEAUREGARD Looks like the curse is still at work. CUTHBERT The claws are sharp. I must have cut myself. -LRB- uneasy laugh. -RRB- Better move these crates to the secure storage area where they'll be safe. Beauregard studies the door as Cuthbert heads out with the figurine. BEAUREGARD Do n't know if it'll do any good, Mr. Cuthbert. CUTHBERT Why not? BEAUREGARD No one broke into this room, sir. Someone broke out. That lock was torn off from the inside. Cuthbert glances at the evil face of Mbwun, pales. As he exits, HOLD ON BEAUREGARD, left alone with the crates.", "INT. PHYSICAL ANTHROPOLOGY LAB - DAY Huge centrifuges, hissing autoclaves, electrophoresis apparati, glowing monitors, elaborate blown - glass distillation columns and titration set - ups. One of the most advanced technical facilities of its kind. And mixed in with all the modern machinery are SKELETONS OF ALL KINDS. Complete homo sapien specimens are scattered around the room. Standing midst all this is GREGORY KAWAKITA, early twenties. Kawakita makes sharp, jerky overhead movements with his left hand, waving something about. He's practicing casting. We hear the zing of a line and the whirring of the fly reel as MARGO ENTERS. A fly whips out, passing right under her nose. KAWAKITA Third from the end! Right shoulder. Aleut, provenance unknown. The fly zooms across the room and lights on the shoulder of the third skeleton from the end, labeled `` Aleut, provenance unknown.'' Margo rolls her eyes and Kawakita smiles with pride. KAWAKITA If I spent half the time on my Fractal Evolution thesis that I spend on this fly rod, I'd have my PhD. MARGO -LRB- small smile. -RRB- But at what a price. Kawakita reels in his line as Margo drops her backpack on her large desk. An enormous MICROSCOPE stands by the equally imposing computer topped by a tiger skull. A screen saver of an animated pterodactyl plays. Margo unpacks boxes of fossil teeth, hits some keys revealing columns of seemingly indecipherable chemical equations on the computer screen. MARGO I have the species identification on these teeth. We can extract DNA and start running tests on the extrapolator program. Call Dr. Frock. He wanted a demonstration. KAWAKITA Margo, you have n't heard? MARGO What? KAWAKITA Frock's been fired. Margo straightens, stunned. MARGO That's impossible. KAWAKITA -LRB- awkward. -RRB- I'm sorry to be the bearer of bad tidings, but you know me. Telegraph. Telephone. Tell Kawakita. I got the definitive word from Cuthbert's secretary. This is Dr. Frock's last week. Margo is already out the door.", "INT. CORRIDORS/STAIRWELL - MUSEUM - DAY Margo charges through double doors leading into the southwest tower. She half runs down an elegant, Edwardian fifth - floor corridor, her footsteps lost in the thick carpet. At the very end is a heavy oak door bearing a plate entwined with bronze leaves that reads simply `` Dr. Frock''.", "INT. FROCK'S OFFICE - DAY Margo bursts into the unique office, which is in startling contrast to the modernity of her own. Two large bow windows look out over the park. Upholstered Victorian chairs in a leaf motif sit on needlepoint carpets featuring large red roses. Plant specimens and drawings of flora and fauna line the walls. Cardboard boxes cover the floor. Seated in a wheelchair is a white - haired man in a tweed jacket and a loud floral tie. Glasses slip down his nose. This is DR. FROCK, and he's in the middle of packing. He looks up, smiles apologetically. DR. FROCK Hello, Margo. Sorry about the mess. MARGO Is it true? Greg said you'd been fired. FROCK Yes. Bit of a shock. But as Cuthbert so tactfully put it, the museum needs new blood. And since I've been here since the Mesozoic Era - MARGO I do n't believe it. FROCK Now Margo, do n't overreact. Cuthbert has to cut costs somehow. My leaving makes perfect sense. This is n't exactly early retirement. I've overstayed the party a bit. MARGO We ca n't do without you. You're one of the foremost authorities on primitive pharmacology. You're practically an institution around here. FROCK That, apparently, is the problem. I'm yesterday's news. Who needs a Curator of Plant Biology in a museum with one exhibit on plants? Monsters and dinosaurs, cannibals and shamans are the new currency of the realm. Frock goes back to his work packing to hide his emotion and Margo moves to his side. She pulls Frock's books back out of the box, returns them to his desk. MARGO `` Phyletic Transformation and the Tertiary Fern Spike'' is not going anywhere. I'll talk to Cuthbert and put a stop to this right now. She starts for the door and Frock wheels into her path. Now for the first time she sees what he's been carefully hiding. the deep pain in his eyes. FROCK Please. Do n't humiliate me further. MARGO Let me help. I can take care of everything. FROCK No, Margo. This is one problem you ca n't solve. You have to stay out of it. The fact is, I want to retire. MARGO How can you say that? You know it's not true. FROCK Yes it is. I'm tired and I'm no longer needed - MARGO My work on fossil intermediates would be crippled without you. FROCK With all due respect, dear, that's bull. You dance rings around me with your new technology. You've left me in the dust. MARGO -LRB- stubbornly loyal. -RRB- Your work is highly relevant. What about your display on Primitive Pharmacology? Cuthbert told me himself he was going to feature it prominently in the Superstition Exhibit. FROCK Healing plant use among the Ki tribe of Bechuanaland has been cancelled to make room for Tibetan Erotic Art. Frock reaches out and squeezes her hand gently with a look that says the discussion is over. FROCK Come on. I'll walk you back to the elevator. MARGO I'm not giving up. FROCK You must.", "INT. MUSEUM HALLWAYS - DAY Frock rolls back down the hall the way Margo just came. Margo is beside him, downcast. She's not used to defeat. FROCK This is n't a death sentence. Greg has promised to teach me fly fishing. I'll garden. I'll write. MARGO You are this museum. It wo n't be the same without you. FROCK Everyone needs a change of scenery. I've been rolling down these halls for forty - odd years. That's quite enough. Margo gets in the elevator reluctantly. He smiles and meets her eye. FROCK I'll see you at lunch. He waves her off merrily. But once the doors close and Margo's out of sight, Frock's smile fades and his shoulders sag. He ducks his wheelchair quickly into the Hall of African Mammals.", "INT. HALL OF AFRICAN MAMMALS - AFTERNOON Two stories high, dark and dramatic. A very special display. Dioramas of lions, hippos, wart hogs etc.. In the middle is a large statue of a GORILLA beating its chest. Frock takes refuge in the darkness of the exhibit. His wheelchair sits in a quiet corner and we see him quickly wipe the back of his hands across his eyes.", "INT. MOLLUSKS EXHIBIT - DAY Shells and sea life line the walls. A sign announces the exhibit `` Mollusks and Our World.'' The THIRD GRADE CLASS sweeps in. Larry and Henry start to sing `` Mollusks and Our World'' to the tune of `` Welcome to Our World'', the F.A.O. Schwartz theme song. Mrs. Beasley shoots them the evil eye and Henry whines. HENRY Mrs. Beasley, it's almost time to go and we still have n't seen the dinosaurs! BEASLEY If you ask me about the dinosaurs once more, I ` II strangle you both! She starts to lecture about horseshoe crabs in a droning monotone. Henry and Larry hang back. LARRY -LRB- whispers. -RRB- This room sucks. HENRY She's never going to take us to see the dinosaurs. That lady said they were on the fourth floor. LARRY Let's ditch and find them ourselves. They dart off down a side corridor and up a wide stairs.", "INT. REPTILES AND AMPHIBIANS ROOM - DAY Larry and Henry emerge and walk wide - eyed among the cases of lizards, chameleons, tortoises. High windows light the room. Outside the sun is going down. A woman pushing a child in a stroller exits and the boys have the hall to themselves. LARRY Look at this. A Komodo dragon. As Larry checks out, the huge, dragon - like reptile, which has just sunk its Jaws into a stuffed boar. Henry points to a stuffed Gecko climbing vertically up the side of its case. HENRY Check out this one. It can walk up walls. Larry already has his eyes on the far end of the hall where temporary barricades have been put up to prevent access to the next room. Painting is in progress. Scaffolding just begs to be climbed. Henry runs over and starts up the scaffolding. Larry hesitates. LARRY We're not supposed to go back there. HENRY Chicken. This is a great short cut. Henry drops on the other side of the scaffolding and Larry follows. In a moment both disappear from sight.", "INT. MUSEUM HALL OF BIRDS - DAY Windowless and dark. A closed display under maintenance. Thousands of little stuffed birds line the walls from floor to ceiling, white cotton poking out of sightless eyes. Henry and Larry enter and slow down. Larry's getting scared. LARRY I do n't want to go this way. HENRY Do n't be a wuss. Come on. The boys continue onward more slowly, their footfalls echoing in the silence.", "INT. BACK HALLWAYS - DAY The children are now far from the other tourists and their class. Larry is frightened. The hall takes a sharp dog - leg, ending in a darkened cul - de - sac full of display cases filled with hideous carved masks. Against the side of the chamber is a barricade of wood which looks much like a wall. Henry tugs at it and the barricade moves. He looks behind. HENRY Hey, there's a secret staircase back here. Cool. Henry disappears behind the barricade leaving Larry completely alone in the dark room with the Shaman masks. LARRY Henry, come back! Henry does n't respond. The lights in the cases throw strange shadows. Larry starts to sniffle, falls to hiccuping, sits down. He pulls on a little flap of rubber that's coming off the toe of his sneaker, all bravado gone. LARRY Henry! Henry! No answer. Larry rises and peeks behind the barricade. He sees the circular stair. It descends into total darkness. From below comes a strange smell that makes Larry's nose wrinkle. LARRY Henry? No answer. Larry puts his first foot on the stair. LARRY Henry! Come up! Please! With no other option but staying alone in the dark, Larry follows Henry down.", "INT. SPIRAL STAIRCASE - DAY Larry clutches the banister, whispers. LARRY Henry? Where are you? Henry? Larry takes another step. Another. And another. He stops. Below him he hears SNUFFLING, rather like a large dog. Larry freezes, starts to cry. LARRY Henry! Henry! It smells awful. Answer me! Are you all right? Larry can barely see a dim hallway stretching out in two directions. He pauses near the bottom of the stairs, eyes wide, holding his breath. There appears to be a darker area of SHADOW at the end of the hall. It's gliding TOWARDS THEM! Suddenly something CLOSES on Larry's leg and he YELPS. It's HENRY. Henry pulls Larry the rest of the way down the stairs. They stand alone together in the darkness. Henry hisses. HENRY Quiet! LARRY What is it? HENRY I do n't know. But I think it's bad. They keep their eyes locked on the shape at the end of the hall as they back up, step by step. Move in as their faces suddenly TWIST WITH FEAR. THE BOYS. SCREAM BLOODY MURDER. The sound echoes in the darkness as we.", "INT. MARGO'S APARTMENT - NIGHT Margo sits up in the darkness, gasping. Moonlight cuts across the bed. It takes a moment for her to realize that she's had a nightmare. She reaches for her light. As she switches it on, we see a photo on her bedside table. It shows a group on a mountain in TIBET. There are several people with their arms slung around each other. At the end is a younger MARGO holding hands with JOHN WHITTLESLEY. They appear to be more than friends. ON MARGO. she looks at the photo a moment, then turns off the light and lies back, alone in her bed.", "EXT. CENTRAL PARK WEST - DAY Yellow crime tape encircles the museum. Dead leaves swirl in clusters and the sky is overcast. Overnight, fall turned to winter. The front of the museum is ringed with police cars. Margo rides up on her bike and pauses, startled at the sight. We watch as she crosses, has a few words with one of the officers who motions her to a side entrance. She wheels her bike under a stone tunnel as we pick up. A TAXI CAB arriving at the front entrance. Out steps SPECIAL AGENT PENDERGAST.", "INT. LOWER ROTUNDA - DAY Margo enters. The huge hall is taken up by an enormous boat carved from the trunk of a single tree. Inside it are mannequins of Northwest Coast Indians. Milling around are at least twenty COPS. One approaches. COP ID. Worried, Margo hands it over. MARGO What's going on? COP All employees are to go to the IMAX room for a briefing, Dr. Green.", "INT. SIDE HALL - MUSEUM - DAY Several cops go by with tracking dogs. Margo looks back at the dogs, increasingly uneasy, almost bumps into. HENRY AND LARRY. Surprisingly, they are alive and well and seated with MRS. BEASLEY outside an office. Margo exchanges a look with both boys, remembering them from yesterday. A tentative smile starts but Henry and Larry do n't return it. Serious and chastened, they drop their eyes. Margo continues on. TWO COPS stand outside the door to the rest room, their backs turned to Margo as she approaches. COP ONE What was that? Six? COP TWO Lost count. Margo glances past them to see an OLDER MAN wearing the badge of a NIGHT WATCHMAN, leaning over a sink. He wipes his mouth. Margo's eyes move down to see. THE MAN'S SNEAKERS are soaked in blood.", "INT. HALL OF ADVANCED FOSSIL MAMMALS - DAY More cops gather, surrounded by skeletons of primates. humans, monkeys, gorillas. It's an odd sight. They all look up with interest as in walks the imposing figure of. SPECIAL AGENT PENDERGAST. He turns to a young eager beaver, OFFICER BAILEY, flashes his badge. Bailey straightens to attention. PENDERGAST Could you please take me to the officer in charge?", "INT. CIRCULAR STAIRWELL - DAY Pendergast follows Bailey as they descend the rickety old metal staircase that goes into the bowels of the museum. The hall below them is narrowand lit by an occasional bare bulb. The stairway opens onto a maze - like set of rooms in the basement. Everything around them is STREAKED and SPATTERED in BLOOD. There are trails of it on the floor, the walls, the overhead light. Several COPS stand guard as DETECTIVE VINCE D'AGOSTA goes over the area. He is a round, balding, man with an unmistakable air of authority. A modern knight in shining armor in disguise. deep disguise. He has on a cheap polyester short sleeved shirt. His t - shirt is plainly visible underneath. On his worn plastic belt is a badge. D'AGOSTA Do n't touch anything until the S.O.C. has finished with those stairs. Keep everyone clear of the perimeter. I do n't want any contamination. There's an incredible amount of blood evidence down here. We need more light. Where's the photographer? Tell him to quit eating donuts, I need him. As Pendergast enters, D'Agosta looks up at this serious African - American in simple black suit, white shirt and dark tie. D'AGOSTA Who are you? The undertaker? PENDERGAST Special Agent Pendergast. FBI. D'AGOSTA Vince D'Agosta. Am I out? PENDERGAST Not at all. I think we may be working on the same case. If so, I could use your help. The two men shake hands. They could n't be more different. Pendergast is an elegant intellectual. D'Agosta a working class spark plug who operates from the gut. Pendergast gestures to the form on the ground. PENDERGAST The body? D'AGOSTA What's left of it. PENDERGAST Mind if I have a look? D'Agosta calls to A POLICE PHOTOGRAPHER who comes down the staircase carrying lights, a donut stuffed in his mouth. D'AGOSTA We need light in here, stat. PENDERGAST Where's the head? D'Agosta points to a lump the size of a bowling ball that's in the corner. D'AGOSTA Careful. That mess on the ground is brains. PENDERGAST Whose footprints? D'AGOSTA Night watchman who found the body. Sweet old man. Been tossing his cookies for over an hour. Not a likely suspect. The photographer is finally ready and he floods the dark room with light. And now everyone -LRB- but not us -RRB- gets a very clear look at the body. THE PHOTOGRAPHER. spits out his donut. His eyes roll up and he drops in a dead faint. Just like that. D'Agosta swallows hard. D'AGOSTA Woof. Pendergast looks down, utterly impassive. PENDERGAST Yes, I'd say we're definitely working on the same case.", "INT. IMAX ROOM - DAY An old 19th century theater. Balconies. Heavy curtains. It looks like the theater where Lincoln was shot, with the exception of the most recent addition, an IMAX SCREEN five stories high. The room is filling with museum employees, all murmuring anxiously. Margo sits down next to Frock's wheelchair. Her face is ashen. MARGO Dr. Frock, I just saw a man back there who'd been wading in blood. As Greg Kawakita sits in the chair next to Margo. MARGO -LRB- CO N'T. -RRB- For once I'm glad you're rumor central. What in the world is going on? KAWAKITA Someone's been murdered. Not shot, strangled or stabbed, either. Torn limb from limb. There's talk of a psychotic killer or even an animal. FROCK For heaven's sake, Greg, someone's been killed. Look, it's Cuthbert. Let's hear what really happened. At this everyone falls silent and IAN CUTHBERT steps forward to address the crowd. He appears drawn and grey. CUTHBERT This has been a tragic and upsetting morning. I have terrible news for us all. A member of our security force has been found murdered. The police have just informed me it was Daniel Beauregard. -LRB- murmuring fills the room. -RRB- Quiet. Please. With the help of our head of security, Mr. Ippolito. the museum has been secured. IPPOLITO. rises in the back and nods to the crowd. He's an imperious looking, pompous man with shifty eyes. Right now he's defensive. Overnight, his job is on the line. CUTHBERT The police are satisfied we're in no danger, that we're all perfectly safe. We've been asked to remain in the Gem Room and be available for questioning for the rest of the day. Obviously, we will all do everything we can to cooperate. Are there any questions? Ippolito raises a hand. IPPOLITO The party for the opening of the Superstition Exhibit. I imagine in the light of what's happened it will be pushed back. CUTHBERT No action has been taken yet. The opening of the exhibit is crucial to the financial health of this museum. So for now, we expect that the Superstition Exhibit will open on schedule, tomorrow night. Ippolito registers surprise. The audience buzzes again.", "INT. GEM ROOM - DAY Margo, Dr. Frock and Greg Kawakita enter. The room is full of spectacular displays of gemstones of every type. Greg drapes himself over a grey sofa. Margo leans on a giant geode. MARGO That Cuthbert. What a piece of work. Someone's dead and all he cares about is his Superstition Exhibit. FROCK Cuthbert's counting on the exhibition's success. The museum is in debt. Contributions and public funding have dried up. Admissions no longer cover overhead. The last big infusion of cash we had was the King Tut exhibit. Cuthbert was hired to get us out of the red. If the Superstition Exhibit is n't lucrative, he'll have to start auctioning off some of these gems. KAWAKITA With all this bad publicity, it's no wonder he looks like that. They glance over and see Cuthbert in the corner. He appears ill, is compulsively fingering his watch chain from which hangs a RABBIT'S FOOT. Frock goes over to speak to him, followed by Margo and Greg. FROCK Ian. Are you okay? CUTHBERT -LRB- shakes his head. -RRB- Beauregard. I ca n't believe it. I may have been the last one to see him alive. He was with me just yesterday, when I got out the statue of Mbwun. MARGO -LRB- taken aback. -RRB- Mbwun. KAWAKITA -LRB- sensing more gossip. -RRB- What's that? Margo frowns, suddenly uneasy. She and Dr. Frock exchange a look. MARGO Warrior deity of the Kothoga, an extinct South American tribe. Dr. John Whittlesley led an expedition that found the only known representation of Mbwun. The statue is said to carry a curse. -LRB- she looks away, quiet. -RRB- Every member of Whittlesley's expedition died. CUTHBERT I got the relic out yesterday to put on display. Beauregard was there. The crates had been broken into and the contents were strewn about. But nothing was missing. It was downright weird. We joked that it was the curse of Mbwun. I'm not laughing now. FROCK Come, Ian. We all know you're superstitious. But you're among scientists here. We deal in facts. That statue had nothing to do with what happened to Beauregard. CUTHBERT All I know is, everyone who has come in contact with that relic, is dead.", "INT. BUSINESS OFFICES - MUSEUM - DAY D'Agosta has set up a temporary command post among the antique desks and chairs. The room is on the ground floor with a view of the park. Gawkers are outside looking in. D'Agosta pulls the blinds in their faces. D'AGOSTA -LRB- mutters. -RRB- Get a life. Pendergast is looking closely at one of the large paintings of birds that line the walls. PENDERGAST An original Roger Tory Peterson of a Red - Breasted Merganser. Amazing. I have a copy of this in my office at home. D'AGOSTA Ca n't really focus on birds at the moment, Pendergast. I'm tryin' to keep my breakfast down. PENDERGAST In this violent world, I believe the only way to stay sane is to take time to notice beautiful things. D'AGOSTA I drink. After hours of course. On duty, I smoke. -LRB- he pulls out a fat cigar. -RRB- Do you mind? PENDERGAST Not at all. I enjoy the smell of a good cigar. D'AGOSTA Then you wo n't like this one. It's a piece of shit. He bites off the end, spits it out on the floor. PENDERGAST Lieutenant - D'AGOSTA Call me Vince. PENDERGAST Did you read about a boat that washed up outside of New Orleans about four months ago? Twelve bodies on board. D'AGOSTA Who did n't? Big news. Out of Brazil, was n't it? PENDERGAST Yes. That's my case. Now it's yours. All the corpses were badly mutilated in a very particular way. Decapitated. Brains extracted. Limbs torn to shreds. It looked like the work of a large animal, but there was no sign of an animal on board. D'AGOSTA So the method of death is the only connection? PENDERGAST No. There's more. There were crates from this museum in the hold of the boat. BAILEY enters, interrupts. BAILEY Uh, Vince. Sorry. This wo n't wait. D'AGOSTA It better be good. BAILEY There are a couple of kids who were lost yesterday near the site of the murder. Claimed they saw a monster. They're pretty determined to tell you their story. You want to see them? D'AGOSTA -LRB- rolls his eyes. -RRB- No. PENDERGAST If you do n't mind, this could be important. D'AGOSTA You're kidding. PENDERGAST Unfortunately, no.", "INT. MUSEUM CLASSROOM - DAY A modern classroom that has been taken over by the police for the purpose of interrogation. Seated on small chairs at a plain table are. HENRY and LARRY, looking like two little boys with a story they are desperate to share. Standing behind them is MRS. BEASLEY, starchier than ever. D'Agosta takes a chair across from the boys, at their eye level. By this time of day he looks pretty rumpled and tired. Pendergast stands upright and unruffled in a doorway behind. This is n't hard duty for D'Agosta. He's surprisingly genial and at ease with kids. Larry kicks his sneaker against the table leg in excitement. Henry tugs his t - shirt. D'AGOSTA Hi. I'm Lieutenant D'Agosta. You can call me Vince. This is Special Agent Pendergast. You can call him. -LRB- he looks to Pendergast, so formal. -RRB- Special Agent Pendergast. BEASLEY This is Henry Weiss and Larry Bowers. D'AGOSTA So. Tell us about this monster. LARRY We were lost and trying to find a short cut to the dino - Henry elbows him hard. Larry shuts up. HENRY We were just lost, okay? And we went down this curvy staircase. At the bottom was a big shadow. LARRY Big as a house. HENRY Not that big. LARRY Well almost. Depends which house. It smelled like old hamburger, and it made this weird noise. Henry makes a low GROWL in his throat. D'Agosta suppresses a smile, shoots Pendergast a look. But Pendergast watches the kids intently. LARRY And it snuffled the ground like a dog. HENRY Like this. He goes on hands and knees, sniffs the ground. LARRY It had a long tongue, teeth this big and yellow eyes. HENRY They were green eyes and they were slit like a lizard's. LARRY They were yellow! HENRY You're color blind. BEASLEY Boys, please! -LRB- to D'Agosta. -RRB- These two get in a lot of mischief and they tell some amazing whoppers. D'AGOSTA I can see that. HENRY This is n't a whopper! It's the truth. Pendergast now moves forward, pulls up a chair as if deeply interested. PENDERGAST How did you get away? HENRY We ran and screamed and stuff. And we got through a little door just in time. There was a guard there and he went back to check. PENDERGAST A guard? Do you remember his name? LARRY He was wearing one of those I.D. badges. His name was Bo. something. D'AGOSTA Beauregard? LARRY Yeah.", "EXT. MUSEUM - DAY An ambulance pulls away, lights flashing. Pendergast and D'Agosta walk to a squad car. D'AGOSTA I've got to admit, that was a damn sight better than `` the dog ate my homework''. PENDERGAST How do you explain the part about Beauregard? D'AGOSTA They heard the victim's name and wove him into their story. Nice touch. PENDERGAST I believed them. D'Agosta stops, stunned. D'AGOSTA You think what we've got here is a monster as big as a house that smells. like hamburger? PENDERGAST No. I think what we've got here is a psychotic killer wielding some kind of unusual weapon. who wants us to believe he's a monster. D'AGOSTA -LRB- totally confused. -RRB- Oh.", "INT. NEW YORK CITY MORGUE - EVENING D'Agosta and Pendergast thread their way down a hall lined with bodies on gurneys. It's dark and quiet. They go into the autopsy room.", "INT. AUTOPSY ROOM - AFTERNOON A large gurney, currently empty, sits like an uninvited guest under the bright lights of the autopsy suite. Beside it is a tall, imposing doctor in her late 50's, with intense eyes. This is DR. ZIEWZIC. With her are the PHOTOGRAPHER seen passing out at the museum, and a young intern, DOCTOR GROSS. DR. ZIEWZIC You're late, Vince. D'AGOSTA Sorry Dr. Ziewzic. This is Special Agent Pendergast. Pendergast, Dr. Ziewzic. She runs the best chop shop in New York. PENDERGAST We've met. The Hacksaw Murders.' 89. DR. ZIEWZIC Oh yes! Who could forget. Afterwards you sent me that amazing case of Chateau Lafitte. PENDERGAST I hope you liked it. DR. ZIEWZIC Lovely bouquet. After our last case, Vince took me out for a draft beer. As I recall we split the check. D'AGOSTA -LRB- grumbles. -RRB- It's been one of those days. DR. ZIEWZIC -LRB- she snaps her rubber glove. -RRB- Shall we get down to it, then? Dr. Gross wheels the gurney over to the morgue bank and slides open a drawer. The shape under the plastic seems too small to be human. To the side of it is a large bump, presumably the head. The two pieces of cadaver are slid onto the gurney and wheeled under the lights. A stainless steel bucket is placed under the gurney's outlet pipe. Dr. Ziewzic fiddles with a microphone hanging above the body, she taps it and it gives off the proper static. DR. ZIEWZIC -LRB- for the microphone. -RRB- This is Dr. Matilda Ziewzic, assisted by Dr. Frederick Gross. It's Oct. 28, six fifteen p.m.. We are joined by Lieutenant Vincent D'Agosta of the NYPD, Special Agent Pendergast of the FBI and a police photographer. Let's see what we've got. They pull off the sheet and D'AGOSTA swallows hard, closes his eyes to keep his stomach in check. The photographer goes green, but is determined not to clutch this time. PENDERGAST leans closer, totally impassive. He puts on a small pair of wire rim glasses, assumes an expression much like a man reading a menu in a restaurant. DR. ZIEWZIC Caucasian male. Age about 27. Blond. Height well I ca n't give a height because Mr. Beauregard has been decapitated. The state of the body is such that other identifying marks are out of the question. There are numerous lacerations proceeding from the left anterior pectoral downwards through the sternum and terminating in the abdomen. This is a massive wound, two feet long and a foot wide. The head has suffered severe trauma and the occipital portion of the calavarium has been crushed and removed. It almost looks like. DR. GROSS -LRB- beat. -RRB- A bite. Ziewzic turns to Pendergast. DR. ZIEWZIC What are we talking about here? PENDERGAST Someone who makes the Hacksaw Murderer look like Mother Teresa. DR. ZIEWZIC Right. -LRB- back to work. -RRB- The entire brain appears to have been extracted. May I see it, please? Gross passes over a grey, watery mass that sits in a stainless steel pan. Ziewzic studies Beauregard's brain, or what's left of it. DR. ZIEWZIC Curious. There's something missing. PENDERGAST The thalamus and the hypothalamus, perhaps? DR. ZIEWZIC -LRB- looks up, surprised. -RRB- Yes. Two organs the size of a walnut have been removed with what looks like surgical precision. D'AGOSTA What happened to them? PENDERGAST If you do n't mind a suggestion, you might try a saliva test. Ziewzic, Gross and D'Agosta look at Pendergast. The photographer is staring at the wall, silently mouthing multiplication tables to keep from woofing all over the place. D'AGOSTA -LRB- incredulous. -RRB- Saliva test? You mean, you think someone ate part of the brain? PENDERGAST Correct. A long moment of silence, then. Zwiezic uses a swab for the saliva test, puts the result in a petrie dish. DR. ZWIEZIC Okay. One saliva test. Now. let's look at these lacerations. They start wide and then converge. D'AGOSTA Long fingernails? Scratches? DR. ZWIEZIC Too extreme. Perhaps some kind of weapon. I'm now probing the wound and. there's a piece of foreign material deep in the muscle, lodged on a rib. Photograph. The photographer gathers his courage, steps forward with D'Agosta and Pendergast. Zwiezic rinses the object off in a beaker of sterile water. It turns brownish red. She holds it up. They all stare in astonished silence. D'Agosta swallows. D'AGOSTA Sweet Jesus. DR. ZWIEZIC It's a claw. The photographer's flash goes off.", "EXT. STREETS - NIGHT A black and white heads uptown.", "INT. COP CAR - NIGHT Pendergast sits in silence. D'Agosta is visibly disturbed. D'AGOSTA I do n't like animals. Never have. Dog bit me when I was little. After that I gave up on pets. Animals are irrational. Give me a psychotic killer any day. If there's one thing that makes me queasy it's being part of a food chain. My first case as a rookie, two brothers climbed a fence at the zoo. It was late August. Over ninety. The polar bear was inside his cave. Kids did n't know he was in there. All they saw was the pool. They got to swimming and splashing. The noise woke up the bear. By the time I arrived, both little boys were in pieces. The bear was dragging one kid around by the foot. I can still hear the mother screaming - PENDERGAST This is n't an animal, Vince. I've been on this case four months, remember? I've learned a few things. D'AGOSTA You've been holding out on me Pendergast. You have a suspect capable of this? Pendergast looks over, nods quietly. PENDERGAST Let me tell you about it, Vince.", "EXT. NATURAL HISTORY MUSEUM - DUSK The yellow crime scene tape is torn and flapping in a light rain. Most of the emergency vehicles have left. The police have released the employees who are now headed home. We see Frock and Kawakita exit. Cuthbert is n't far behind. Pendergast approaches them, headed back inside. PENDERGAST Excuse me. Has Dr. Green left? KAWAKITA Before eight? You must be joking. She's in the physical anthro lab making up for lost time. Pendergast nods his thanks.", "INT. MUSEUM HALL OF THE GEMS - NIGHT The gems glow in the darkness as Pendergast passes through the now empty room.", "INT. METEORITE ROOM - NIGHT Pendergast's footfalls are lost in the carpet as he goes down the far stairs.", "INT. HALLWAY - MUSEUM - NIGHT Pendergast goes down a long, dark hall alone. He arrives at a door marked PHYSICAL ANTHROPOLOGY LAB, enters.", "INT. PHYSICAL ANTHROPOLOGY LAB - NIGHT The skeletons throw odd shadows on the ceiling. Margo's computer screen glows at the end of the room, casting the only light. But her chair is empty. The room is quiet. Pendergast approaches slowly, looks around. PENDERGAST Dr. Green? No answer. Pendergast glances at the computer screen, sees graphs and complicated notations. He scrolls down, leans closer. He ca n't figure it out. He slides into Margo's chair, fascinated. Then. MARGO -LRB- OS. -RRB- You have a warrant to look at that? Pendergast leaps up. Margo has appeared in the doorway behind him, a cup of coffee in her hand. PENDERGAST Special Agent Pendergast. FBI. Forgive me. I guess I was snooping. What is this? MARGO An invention of mine. It's a computer program designed to describe the characteristics of a given species from a reading of its DNA. I call it the Genetic Sequence Extrapolator. PENDERGAST How does it work? MARGO With a DNA analysis from a fossil you can use this program to tell the species and sex of the animal, whether it was nocturnal, what it ate, how it hunted, how big it was. -LRB- abrupt. -RRB- You are n't here for a lesson in DNA. PENDERGAST No. -LRB- a moment. -RRB- I came to talk about Dr. John Whittlesley. Margo turns to put down her coffee. She takes a moment to compose herself. When she turns back, her voice is quiet. MARGO Somehow, when all this happened. I knew it would come back to John. Is he really dead? PENDERGAST Maybe not. MARGO If he were alive he'd have contacted me. PENDERGAST You have time to talk?", "INT. MUSEUM HALLS - NIGHT Pendergast and Margo walk together though various exhibits and halls. They pass dioramas of ferocious wild animals that have been tamed and stuffed behind glass. PENDERGAST Dr. Whittlesley was last seen in Belem, Venezuela a week after the rest of his expedition disappeared. A taxi driver drove him to the harbor where he boarded a cargo boat. That boat washed up in my district. Everyone on board was killed. MARGO And John? PENDERGAST Disappeared. His body was n't among the victims. MARGO I do n't understand. PENDERGAST The people killed were mauled and their brains were eaten. Just like Beauregard. One part of the brain was extracted with surgical precision. The hypothalamus and thalamus to be exact. Margo pales. MARGO John could n't have anything to do with a horrible thing like that. He was a fine man despite his problems - PENDERGAST You loved him. MARGO -LRB- a moment, taken aback. -RRB- Yes. Once. We met at Columbia. John held the Cadwalader Chair in Statistical Paleontology when I was a grad student there. PENDERGAST You were going to be married. MARGO How did you know that? PENDERGAST I ran an internet search on Dr. Whittlesley. Got a list of his scholarly articles and the engagement announcement in the Times. I also found a record of your restraining order. MARGO That was two years ago. John was still in love with me. -LRB- she looks down. -RRB- He would n't leave me alone. PENDERGAST You were afraid of him, were n't you? MARGO He was afraid of himself. He tried suicide once. He was ill. Manic depressive. He had wild emotional highs and lows. Not a happy affliction for a scientist. He'd been revered in our community. By the end he was a joke. PENDERGAST Tell me about the last expedition. What was he looking for? MARGO A legendary monster called Mbwun. PENDERGAST A monster? MARGO Yes. He developed his own theory that he called the Calisto Effect. It held that evolution was n't always gradual or driven by natural selection. The environment would sometimes cause sudden and grotesque changes which could result in a `` monster species''. It made no sense. But he felt he had evidence that Mbwun was such a monster, living in isolation on the tepui for thousands of years. PENDERGAST What happened? MARGO No one knows. The Kothoga who live on the tepui are cannibals. Margo's voice catches again. Pendergast reaches for his handkerchief but she shakes her head, determined to keep control. MARGO No. I'm all right. I wo n't let this affect me anymore. John would n't get help. His ego endangered the lives of others. His theory came first. PENDERGAST What if Whittlesley arrived on the tepui and no monster was there? Was he desperate enough to create one? MARGO I do n't understand. PENDERGAST Something came up in autopsy tonight. Imbedded in Beauregard's body we found a claw. MARGO My God. Then it was an animal. PENDERGAST I do n't think so. I think we were meant to think it was Mbwun. Did Whittlesley's monster have claws? MARGO I do n't know. He sent back a statue that's supposed to be an exact representation. But I've never seen it. It's in the exhibit. PENDERGAST Would you mind showing it to me?", "INT. SUPERSTITION EXHIBIT - NIGHT This exhibit is unlike anything we've seen in the museum. Horrifying artifacts under single spots appear to float in a velvet blackness. Patterns of light and shadow play over skeletons and voodoo dolls. There are tombs, a torture chamber, and endlessly curving, maze - like, winding halls. PENDERGAST Where would we find it? MARGO I'm not sure. We should split up. You take that hall and I'll take this one. PENDERGAST All right. I'm as macho as you are. Perhaps. Without further discussion, Margo takes the right fork leaving Pendergast behind. ON MARGO. As she finds herself alone. The silence is intense. She heads slowly into another long, dark, tunnel passing a set of Maori tattooed heads. The eyes are stuffed with fibers, the shriveled lips are drawn back from rotting teeth. Margo passes without a look. ON PENDERGAST In another part of the exhibit, he nears a Mayan tomb. A skeleton in the center wears a headdress and tribal robes. Gold rings encircle bony fingers. Pendergast takes a moment to appreciate it, heads into the next hall. ON MARGO getting farther from pendergast, and ever deeper into the gloom. The walls around her are lined with symbols of witchcraft. There are shaman dancers, masks covered in grasses and shells. From the New Guinea coast there is Kokpah, God of a secret male society, and Zoe - ba, an awesome mannequin in black costume with an angry pointed mask. Finally the walls open up into another gallery. Beyond it is more of the shadowy hall. Margo stops and for the first time she wavers. This gallery is the most frightening yet. It features images of THE DEVIL from different cultures around the world. In the dim light, Margo is dwarfed by abhorrent statues of SATAN, TORNARSUK -LRB- the Eskimo evil spirit -RRB-, INCUBI from India, Tibet, New Guinea etc.. And there in the center of the gallery sitting on an altar and lit by a spot, is a small figurine. Margo is instantly drawn to it. As she gets close enough she sees the label in Gothic letters. MBWUN Savage God of the Kothoga, also known as `` HE WHO WALKS ON ALL FOURS''. The statue is terrifyingly life - like. Margo stares at The Beast. Mbwun is covered in scales and stiff hair, with glittering green eyes and crude, reptilian features. The figure is hunched over in a threatening crouch. It's long forearms trail to the ground ending in THREE LARGE CLAWS! ON MARGO. she starts, then remembers Pendergast. MARGO Mr. Pendergast! I found it. No answer. She turns, tries again, louder. MARGO Pendergast! Over here - Her voice catches as she stops and sniffs the air. A STENCH rolls over her. She covers her face, backs up, holding her breath. MARGO What the. She steps directly into a nasty statue of the Tibetan lord of the Dead. Margo starts, steadies the statue. The room is silent once more. But then, unmistakably. she hears it. An odd rustling sound. Slow. Deliberate. Maddeningly soft on the thick carpet. And another wave of THE SMELL. Margo looks in the direction she came, down the long dark hall. Her voice comes out a bit frightened as she calls. MARGO Pendergast? -LRB- no answer. -RRB- Who's there? But now she freezes. At last she's truly scared. A shadow, black against black, is gliding stealthily towards her, moving over the display cases and grinning artifacts! Margo stands stock still, her eyes on the shadow. She lets out a small gasp of shock. She ca n't believe her eyes. It defies reason. Slowly, she backs up. She slips quietly through the exhibit and out the other side. In the next room she pauses again, listens. now hearing a distinctly animal, SNUFFLING SOUND! Something large is TRACKING HER! There's no doubt. Overcome by a blind panic, Margo turns and runs. She passes through a display on mythical creatures, disappears down another winding dark hall. Behind her comes. THE POUNDING OF SOMETHING IN A HEAVY, LOPING RUN! Whatever it is, it's charging after her! She turns another corner. And another, tearing as fast as she can! But now the walls up ahead are narrowing, leading to. a DEAD END! Margo slams up against a locked door with a window of glass. The hall features displays of terrifying totem poles. All around the ghoulish carved faces seem to leap out! She pounds on the door but it's useless. She's trapped. And the thing is coming behind her! It's just around the last bend when it stops! Silence again envelops her. She's afraid to turn. She can hear HEAVY BREATHING, and something like a low growl! Reflected in the glass of the door in front of her is the long dark hall. Margo starts as a face appears IN THE REFLECTION. The image is wavering and unclear. It's a large, hulking form behind her! TWO GLOWING SLIT GREEN EYES in the dark! Margo SCREAMS as the thing leaps forward, hitting one of the totem poles. Margo sinks to the ground, unconscious. At last we hear Pendergast calling as darkness falls. PENDERGAST Dr. Green! Dr. Green!", "INT. SUPERSTITION EXHIBIT - NIGHT ON MARGO. lying on the carpet. There's a large, nasty bump on her forehead. The totem pole is on the floor beside her. Leaning over her is PENDERGAST. Margo starts to sit up. Pendergast gently restrains her. PENDERGAST What happened? MARGO I do n't know. PENDERGAST I heard you calling and I ran after you, but you kept disappearing and I could n't keep up. MARGO -LRB- she touches her forehead. -RRB- You were behind me? Running after me? Pendergast nods. As Margo rises he tries to help her but she waves him off, collecting her thoughts. MARGO It's okay, I'm all right. I remember now. It was an animal. Something large! I could smell it. It was hunting me. I saw two green eyes in the dark. PENDERGAST Where did you see it? MARGO Behind me. Over there. Margo turns and points behind her to. A large NORTHWEST COAST INDIAN MASK. It's carved out of wood in a horrible grimace, inset with two glowing green eyes. Pendergast sees it too, says nothing. MARGO That's not what I saw. PENDERGAST All right. If you're positive. She leans against the wall, touches her forehead, panic overcoming her again. MARGO -LRB- CO N'T. -RRB- I ca n't think straight at the moment. I know how crazy this seems. Please, Mr. Pendergast, I need some fresh air. Could you get me out of here?", "EXT. ROTUNDA FRONT ENTRY - EXHIBIT - NIGHT THREE COPS including MCNITT, RODRIGUEZ and ROGERS prepare to enter the exhibit. All are armed. Margo watches as Pendergast gives them instruction. She appears rattled and confused. PENDERGAST Stay in formation together. Take it room by room. Check for footprints, any signs of disturbance. If you see or hear anything the least bit suspicious, I want to know. He points to DOYLE, an older red - haired cop who takes up a post outside the exhibit. Pendergast hands Doyle his walkie talkie. PENDERGAST Bailey's going to be in the guard house outside. Officer Van Dorn is right down that hall. When McNitt's done, he'll relieve you. Doyle nods. Pendergast and Margo walk out.", "EXT. MUSEUM - NIGHT Margo and Pendergast exit. The cold air is like a slap in the face. PENDERGAST Dr. Green. MARGO I did n't imagine it. I know what I saw. Are you sure there are enough men in there? PENDERGAST They're all heavily armed. MARGO -LRB- stops. -RRB- All right. This is hard for me. I'm a scientist. I like order and logic. Sometimes too much. There's got to be an explanation. There ca n't be an animal in there. But I saw something. PENDERGAST What was it? MARGO I do n't know. -LRB- she has a thought. -RRB- Mr. Pendergast. Do me a favor. Get me a DNA readout on that claw.", "EXT. MUSEUM - NIGHT All is quiet.", "INT. MUSEUM FRONT - EXHIBIT FRONT DOOR - NIGHT The doors to the exhibit are closed. Doyle looks at his watch, impatient. It's almost eleven now. He pulls out his walkie talkie. DOYLE Bailey? Doyle here. I'm still waiting outside the exhibit. Where the hell is McNitt? BAILEY Should be there any minute. They came out a side door a while ago. Said the exhibit's clear. McNitt's headed back to spell you. DOYLE I'm on double over - time, man. BAILEY I know. You can go home if you want to. I'll come relieve you myself. Doyle shuts off his walkie talkie, frowns. He fidgets, looks at his watch once more. DOYLE What the hell. He turns, takes off the walkie talkie and leaves it, but then he hears something, stops. It's a low SCUFFLING from inside the exhibit, coming from behind the closed doors. Doyle freezes, turns. DOYLE McNitt? No answer. Doyle pauses. His hand goes to his gun for reassurance as he hears a footstep and a muffled thump. He moves to the door of the exhibit, opens it and takes a step inside. DOYLE McNitt? Cut the crap. I know it's you. You're not scaring me. Come on. Silence meets him. The shadows of the exhibit loom. Doyle takes one more step inside, scanning the darkness with his gun. Does he hear BREATHING? He freezes. Yes, he does. The hair on his neck rises and he loses the spit in his mouth. He takes a step backwards, but he's half a second too late. The door SLAMS BEHIND HIM and a HUGE DARK FORM LEAPS OUT!", "INT. EXHIBIT ENTRANCE - NIGHT Officer MCNITT enters from a side corridor, zipping up his fly. The hall is still. McNitt checks his watch, sees Doyle's walkie talkie and turns it on. MCNITT McNitt here. I'm outside the exhibit. All's quiet. But I do n't see Doyle. BAILEY -LRB- OS. -RRB- He called a minute ago looking for you. He starts vacation tomorrow and he wanted out. I said you were on the way. He could split. MCNITT Well he's gone. BAILEY -LRB- OS. -RRB- Any sign of a green - eyed monster? MCNITT -LRB- chuckles. -RRB- Nope. McNitt shuts off the walkie talkie, settles at his post.", "INT. SUPERSTITION EXHIBIT - NIGHT In the blackness a large shape is MOVING QUIETLY, dragging it's prey across the floor. We move in on the lifeless form of DOYLE. His face is rigid with terror, his eyes frozen, open wide. The last thing we hear as the hulking form heads back into the darkness, is the SNAPPING of Doyle's skull.", "EXT. MUSEUM - DAY Signs announce that the Superstition Exhibit opens tonight. The museum is back in business, but not many people are going in. A crowd lingers at the margins, pointing at the building. Several hold a copy of the POST with a graphic photo of the bloody floor by the circular stair.", "INT. CUTHBERT'S OFFICE - DAY Cuthbert stands by the window of his palatial office, looking out at the scene below. His face is pinched with worry. Slumped in a chair is Lieutenant D'Agosta. Pendergast surveys some paintings on the wall. PENDERGAST I had no idea the Museum had a complete collection of Piranesi's Forum sketches. CUTHBERT If you like them, they're for sale. Another day like yesterday and half the collection will be on the block. PENDERGAST I've read about the Museum's financial troubles. CUTHBERT We've been operating in the red for years. That was the whole idea behind the Superstition Exhibit. It was designed to pull people in. We've spent every penny we have on advance publicity, betting everything on the opening's success. If we postpone at the last minute. No. I do n't want to think about that. D'AGOSTA -LRB- chews on his toothpick, mild. -RRB- We all love the museum. I come here myself with my kids. We're trying to work with you. CUTHBERT I appreciate that. PENDERGAST If the party goes forward, and that's a big if. I've arranged for a large police presence. CUTHBERT Do they have to wear uniforms? PENDERGAST Yes. CUTHBERT I do n't want to scare people. PENDERGAST I understand. But Mr. Cuthbert, we've got bigger problems. Depending on what we find today, we may have to shut you down. Cuthbert looks grim.", "INT. PHYSICAL ANTHROPOLOGY LAB - DAY D'Agosta examines the huge centrifuges, autoclaves, electrophoresis apparati, monitors, computers etc.. as Margo and Greg Kawakita look at the claw. KAWAKITA What do you make of it, Margo? MARGO It's not mammalian, that's for sure. I think it's reptilian. PENDERGAST That would jive with what we got from the preliminary DNA read - out. Here, have a look. He hands them a computer read - out. Margo checks it quickly as Kawakita looks on. MARGO According to this, twenty - five percent of the claw DNA is unidentifiable, about a third is homo sapien, and the rest is Hemidactylus Turcicus. D'AGOSTA -LRB- looks over. -RRB- What's that? Margo pulls off her glasses. MARGO Turkish Gecko, I believe. A lizard. KAWAKITA Lizard DNA and human DNA on the same strand? Impossible. The sample must be contaminated. MARGO There's another possibility. A lot of repeated base pairs could suggest a high level of genetic damage. PENDERGAST Genetic damage? MARGO When DNA is defective, it often uncontrollably replicates long repeating sequences of the same base pair. Viruses can damage DNA. So can radiation, certain chemicals. Even cancer. Let's let the G.S.E. sort it out. I have to get started. This will take several hours. PENDERGAST We need someone to take us to the secure storage area. KAWAKITA Try Dr. Frock. He's the curator of Plant Biology. All the curators have keys. And he knows every inch of this museum. The rest of us still get lost.", "INT. MUSEUM HALLWAY AREA - DAY Pendergast, D'Agosta and Dr. Frock get off are in an older, plain corridor with a long row of locked heavy steel doors. The doors are numbered up to eight, then the corridor turns. As the three go forward, the creaking of the wheelchair echoes faintly in the hall. PENDERGAST Thank you for taking the time to help us with this, Dr. Frock. FROCK Happy to be useful. It's rare enough these days. According to security, Beauregard put the Whittlesley crates in storage area 1012. PENDERGAST How many storage areas are there? FROCK They fill seven floors. We have the largest collection of mammals and dinosaurs in the world. Just to give you an idea, there are more than three million insects specimens. Not to mention amphibians, reptiles, birds, anthropological artifacts, meteorites, minerals and gems. Only about five percent of the museum collection is actually on display. D'AGOSTA This place is a maze. FROCK I'm one of the few who know every inch it, now that John is gone. PENDERGAST -LRB- looks over. -RRB- Do you mean Dr. Whittlesley? FROCK Yes. John made quite a study of the whole museum. He had a copy of my original plans. Frock heads through a double door that leads to a FREIGHT ELEVATOR that's as big as a small room. The operator, KARL has it decorated with a table, chair, and PICTURES. MARGO Osteo prep, Karl. The doors creak closed. They are now inside.", "INT. FREIGHT ELEVATOR - DAY Headed down. D'Agosta chews on a toothpick, stares at Karl's home - made picture show. The photos have all been cut from nature magazines. They are of ANIMALS MATING in extreme positions and undreamed of ways. D'Agosta turns to Pendergast, dead pan. D'AGOSTA My kind of art. Karl, who is sixty and wears a red toupee, leers. KARL They keep me company. Gets kinda lonely sometimes. D'AGOSTA My favorite is the two camels. KARL Really? I'm partial to the skunks. Finally the doors open and they exit to a hail, enter another set of doors. Now they are in", "INT. OSTEOLOGICAL PREPARATION AREA - DAY It looks more like a bizarre industrial kitchen than anything else. Deep stainless steel tanks line one wall. On the ceiling near the tanks hang massive pulleys and grappling hooks for the larger carcasses. In a far corner of the workshop is a stainless - steel gurney bearing a DEAD GORILLA. A pink faced eighty year old man is working on the carcass with sharp tools. This is DON OSTERBAAN. FROCK Did you ever wonder where we get all our skeletons? This is the laboratory where animal carcasses are reduced to bones. -LRB- to Osterbaan. -RRB- What's cooking today, Don? DON Zebra. Frock looks into a large maceration tank with Pendergast and D'Agosta. A zebra carcass can be seen under the muddy surface, its flesh and soft tissues falling off. D'AGOSTA Man, that's ripe. Frock now opens the door on a humid closet adjacent to the main room. Inside on a stainless steel table lies the corpse of a fox. It's crawling with BLACK BEETLES which are devouring it. D'Agosta and Pendergast watch the grizzly scene, properly impressed. FROCK Dermestid beetles. The second method of preparing a skeleton, used in Natural History Museums world wide. Bugs are clean and highly efficient. They'll polish that fox off in no time. As Don casually peels back the gorilla's whole face exposing the skull. OSTERBAAN Want to have a look at a gorilla brain? Got one right here. FROCK Thanks Don. We're in a hurry. Some other time.", "INT. HALLWAY - DAY More rows of stainless steel doors under hissing steam pipes. The light is dim here, and several bulbs are burned out. But the numbers on the storage rooms are much higher now. The three men come out of the darkness. Frock rounds a last corner and wheels to a stop. FROCK This should be it. Can you read the number? Pendergast reaches up above them and TAPS THE LIGHT BULB. It comes on and they all see the heavy steel door of the storage area. D'Agosta's jaw drops and his toothpick falls out. The door has been scored from top to bottom by long, vicious, CLAWS! D'AGOSTA Holy shit. Frock stares in amazement, shaken. He runs a finger down the deep ruts. FROCK Something tried to get into this room! PENDERGAST And failed. These doors are solid steel. FROCK This means there must be an animal loose in the museum! PENDERGAST I would n't be so sure. Pendergast takes Frock's keys and opens the door. It swings wide on oiled hinges. D'Agosta turns on a light.", "INT. STORAGE ROOM - NIGHT They all enter. Nothing has been disturbed. The crates sit in the middle of the small room, untouched. Pendergast kneels by the only one that's been opened. PENDERGAST This must be the one that held the statue. Let's see what else is inside. Pendergast removes the lid and hands it to D'Agosta, pulls out a BLOW DART GUN, SEED PODS, a CARVED STONE. D'Agosta takes the lid and turns it. D'AGOSTA The lid of this crate is scratched with claw marks, just like the door. As D'Agosta studies the lid, a brittle, water damaged envelope slips out. D'Agosta picks it up. The envelope bears an imprint of TWO ARROWS, one silver overlaid with another of GOLD. D'AGOSTA Look. It's some kind of letter. FROCK -LRB- excited. -RRB- May I see that? D'Agosta hands the letter to Frock. FROCK It's from John. Those two arrows were his insignia. It's addressed to Louis Moriarty, a patron who financed his expeditions. PENDERGAST Read it out loud. FROCK `` Dear Louis, Tomorrow we go to the south end of the tepui where we'll be in the greatest danger, so I'm sending Carlos back with the crates. You always believed in me, Louis, even in the darkest days. So it gives me great pleasure to tell you your faith has been rewarded. We've made an incredible find. I enclose a representation of Mbwun. Note the exaggerated claws, the reptilian attributes, the hints of bipedalia. It's beyond belief, but this statue is accurate. I know because I've seen the beast.'' Frock stops, looks up at D'Agosta and Pendergast. His face flushes with the thrill. FROCK Did you hear that? My God. He says that Mbwun is real! D'AGOSTA -LRB- snorts. -RRB- Pardon my French, but bull shit. FROCK This on top of the scratches. is n't it proof! PENDERGAST I think the scratches were put there to scare us. Perhaps even lead us to this note. Pendergast looks out to the dark corridors. PENDERGAST You said John Whittlesley made a study of your blueprints of the museum. FROCK Yes. PENDERGAST Are there any hidden rooms or staircases? Places where someone could hide? FROCK Not really. Just the sub - basement. D'Agosta and Pendergast exchange a look. PENDERGAST Where is that? FROCK I do n't know. It was walled over. No one's been down there in years. PENDERGAST You said you had plans of the museum. Could we see them, please?", "EXT. MUSEUM SIDE DOOR - DAY A series of boxes labeled `` PROFESSOR FROCK'' sit on the loading dock. A small moving van, partially loaded with the contents of Frock's office, sits waiting. Frock delves through one of the boxes while Pendergast and D'Agosta look on. FROCK I know they're here somewhere. It's a good thing we caught the movers in time. They're nineteen century blueprints from when the museum was built. I remember the sub - basement was below the regular basement, linked to the city sewer. I only know about it because it flooded all the way up to the museum during the hurricane of' 49. I lost so many precious books. Frock continues to unload boxes, scattering things right and left. It's the most amazing assortment of paraphernalia. A collection of wildflowers, soil samples, a stuffed owl. Finally he pulls out some very old blueprints and flashes a triumphant smile. FROCK Eureka. Who says it does n't pay to be a pack rat? Now please be careful with these. When you're done, I'd like them back.", "INT. HALL OF THE AFRICAN MAMMALS - DAY Visitors scatter as Pendergast enters with D'Agosta, TWO DEPUTIES, a dog handler, JONATHAN HAMM and Jonathan's pair of HUGE BLOODHOUNDS. The deputies are armed with large shotguns. Pendergast scans the blueprints as they walk. D'AGOSTA How big is the sub - basement? PENDERGAST Apparently it's huge. D'AGOSTA I think I should come with you. PENDERGAST We have n't got time. You have to meet with museum security so we can make a decision about tonight.", "INT. MUSEUM - STAIRCASE - DAY Pendergast, Jonathan, his dogs and the deputies make their way down an industrial set of stairs into the basement.", "INT. BASEMENT CORRIDOR - DAY In a moment they arrive at the site of Beauregard's murder. The area at the bottom of the spiral stairway is still littered with chalk, crime tape, spray paint and the remains of scores of people tramping in and out. PENDERGAST These plans indicate there's a walled over entrance to the sub - basement right around here. They move carefully down the dark corridor which we remember from the time we last saw it with Henry and Larry. Unknown to Jonathan or Pendergast, the dogs are walking directly towards the spot where the boys faced the monster. JONATHAN The dogs are picking up something, Mr. Pendergast. The dogs start barking in animation, sniffing the wall. Pendergast studies the blueprints with a flashlight, moves to the spot. There's nothing to be seen. He shines his flashlight over the water - stained, uneven stucco between two steel beams. The dogs sniff furiously at the point where the wall meets the floor. Pendergast moves his fingers to the joint between the stucco and the beam, shoves hard. The wall pushes back. It's a door!", "INT. STAIRWELL - SUB-BASEMENT - DAY They enter a dank stairwell with brick stairs. Water drips on the walls. DEPUTY ONE What is this? A dungeon? Jonathan looks uneasy, double wraps the dogs' leashes around his black - gloved hands. The two deputies remove their 12 gauges from their shoulders. Then they all follow the animals, descend down the inky stairwell.", "INT. SECURITY COMMAND CENTER - MUSEUM - DAY The place looks like the control room of a nuclear power plant. Two SECURITY GUARDS monitor a battery of closed - circuit screens. D'Agosta is now accompanied by the pompous head of security, IPPOLITO. Clearly Ippolito feels D'Agosta is pissing on his territory and he's trying to assert control. IPPOLITO This huge police presence tonight is n't necessary, Lieutenant. You'll just scare people off. I can handle the security behind scenes with this system. It's state of the art. D'AGOSTA The cops are non - negotiable, Ippolito. Why do n't you just tell me how this space station works. IPPOLITO It's fool proof, basically. I designed this whole thing myself. Every valuable object in the Museum carries a small electronic chip. If anything's moved so much as an inch, we get an alarm pinpointing the exact location of the attempted theft. D'AGOSTA That's great if you're stopping a burglar. Not our goal here. Are there motion detectors? IPPOLITO In every exhibition room. The museum's divided into five cells. The reception and exhibit are in cell five. We could arm the motion detectors in cells one to four, then seal the perimeter with our fire doors. D'AGOSTA That would leave one exit for hundreds of people. You'd be violating every fire regulation on the books. We'll guard the perimeter with my men and engage the motion detectors in the other cells. One more question. I see a big hole. If this entire thing is run by computer, what happens if the power fails? IPPOLITO -LRB- snorts. -RRB- You do n't know much about computers, Lieutenant. There are safeguards built in. We have back - up systems with redundancies. There's no way these computers can fail.", "INT. PHYSICAL ANTHRO LAB - DAY Margo, Kawakita and Frock are studying the contents of the crate. FROCK I ca n't help thinking there's something that Pendergast overlooked. If the scratches were made by whatever killed Beauregard, it wants something that's in here. MARGO A blow dart. Seed pods. A plant press. Pretty unimpressive stuff. FROCK Let me see the plant press. Frock opens the plant press and sees a specimen inside. MARGO What is it? FROCK I'm not sure. As you know, the Kothoga lived outside civilization on the tepui for thousands of years. Species flourished in isolation when man and pollution rendered them extinct. This could be one of the last remaining samples of an unknown plant. MARGO Whatever it is, it must be common on the tepui. John used it as packing material. FROCK You're right. Kawakita lifts out a bit of the fibers, as does Frock. FROCK They're curiously fleshy. KAWAKITA And they smell delicious. Kawakita TAKES a NIBBLE. KAWAKITA Taste great. FROCK I would n't put that in your mouth until we do a chemical analysis, Greg. KAWAKITA I can handle that for you while we're waiting on the G.S.E. Kawakita rises and exits with some of the plant. MARGO What about those seed pods? Are they from the same plant? Frock takes a moment to study them, looks up. FROCK Margo, these are n't seed pods. MARGO What are they? FROCK They're eggs.", "INT. SUB-BASEMENT - DAY Black as night. The only light comes from the men's flashlights. They're at a crossroads. Crooked corridors, with arched ceilings barely the height of a man stretch in several directions. Jonathan is crouched down, resting with the panting dogs. The deputies are having a smoke. They all look both uneasy and exhausted except for Pendergast. He stares at the blueprints. PENDERGAST Hard to read in this light. The ink is so faded. JONATHAN The dogs have lost the scent, Mr. Pendergast. Maybe we should head back. PENDERGAST Not yet. Let's try the fork to the left. The men reluctantly shoulder their shotguns and push on. The hounds walk ahead, carelessly nosing the ground. The flashlight beams illuminate lime - encrusted, cave - like walls. DEPUTY TWO This place gives me the creeps. At this the dogs begin to WHINE. The HAIR on their backs rises in a ridge. Pendergast turns as a BREEZE stirs his clothes. JONATHAN They've got something. PENDERGAST Keep the light up. I ca n't see. The dogs strain and pull forward, sniffing the air ahead. The deputies raise up their shotguns as they all move deeper into the darkness. The flashlight beams streak crazily in all directions, barely penetrating the gloom. Suddenly the dogs break into a terrifying BAYING which bounces off the walls. PENDERGAST Shut them up! JONATHAN Heel Argo! Hobbes! Heel! The dogs drag Jonathan forward, paying no attention, foaming at the mouth. Jonathan is now frightened. JONATHAN They're going crazy! I need help! Too late. As Jonathan tries to grab the collars, one of the dogs LEAPS forward, and the leash slips through Jonathan's hands. JONATHAN He's loose! Argo! Argo BOLTS into the darkness. The men start after the dog, following the frantic barking which echoes farther and farther in the distance. Pendergast is in the lead. Suddenly he throws out his arms, halts. PENDERGAST Stop! JONATHAN Holy mother, what is that? A goatish odor envelops them all. DEPUTY ONE Smells God - awful. Like rotten meat. JONATHAN Argo! Come! PENDERGAST Quiet! A SCUFFLING sound of claws dragging on brick is heard followed by a ROAR. The men all freeze. The other dog leaps and twists with excitement. In the confusion it also breaks free! It tears after the first dog, disappearing into the darkness. Now Jonathan is wild - eyed. JONATHAN No! Hobbes! The deputies are terrified, retreat. The darkness is stifling, claustrophobic. The flashlights are small help. Pendergast alone remains dead calm. His voice is cool and commanding. PENDERGAST Forget the dogs. You two, get back here. Do n't point that gun at me. The deputies regain control and follow Pendergast's orders. They fall into position, pump their shotguns and aim them down the hall. In the echoing darkness ahead of them, the barking falters and stops. There is a moment of silence, then a terrible, unearthly SHRIEK. The deputies quail, frozen in their tracks. Jonathan leaps forward. JONATHAN Argo! Hobbes! PENDERGAST Get back! Now! At that moment a SHAPE hurtles at them from the darkness! The men YELL in terror. There are two stunning BLASTS from the shotguns, two FLASHES of light accompanied by a deafening roar. The rumble echoes and dies and there's an intense silence, followed by a sob. JONATHAN You shot my dog! Hobbes lies five feet from them, a black shadow of death. Jonathan kneels by the dog, tears in his eyes. Down the animals side is a GASH. JONATHAN My dog. DEPUTY ONE -LRB- stammers. -RRB- He was coming right at me. In the distance they can hear a terrified howl. It's the second dog, hurt or frightened. It's a pitiful sound. DEPUTY TWO Let's get out of here! JONATHAN I'm not going anywhere! Not without my dog! Pendergast grabs at Jonathan who slips from his grasp. Jonathan inches back down the hallway calling desperately. JONATHAN Hobbes! DEPUTY ONE Get back! Jonathan shakes his head no. JONATHAN There's something out there! Let's go get it now! That's why we came down here, is n't it? PENDERGAST -LRB- to the deputies. -RRB- He's right. Follow me. But the two deputies are terrified. They cling to the wall, inching backwards, sheer horror in their eyes. DEPUTY ONE No way. I say we get help. A lot more guns. PENDERGAST I'm ordering you! Cover me! DEPUTY TWO We'll cover you from here! Jonathan is disappearing in front of them. Pendergast has no choice. Grim faced, he pulls his Colt.45 Anaconda from a shoulder harness. It's a narrow and evil - looking gun. From a pocket comes a handful of 255 grain wadcutter and 147 grain FMJ flatnose ammunition. He loads up, goes after Jonathan, who's no longer in sight. Pendergast passes down a long, sloping hallway into cavernous blackness ahead. At the bottom Pendergast stops. He has to stoop down as he goes through an archway and into. A VAST ARCHING ROOM. A dark stream of water runs between concrete walls with tunnels going off from all sides. It appears to be part of the sewer system. The dog cowers in a corner. Jonathan moves to his side. JONATHAN Look. It's Hobbes! He's all right. PENDERGAST Come on. Let's get back to the others. We ca n't leave them alone. JONATHAN It's alright. I can tell by the way the dog's acting that whatever was out there is gone. What is this place? PENDERGAST Not on the map. Looks like it connects with the city sewer. Pendergast calls back down the tunnel for the deputies. PENDERGAST We're coming back! The words go unanswered. From the hall comes a loud REPORT. It's the shotguns, blasting desperately. Something flies up all around them as the sound echoes. BATS! Pendergast and Jonathan shield themselves from the flurry of beating wings. Finally the animals settle and Pendergast and Jonathan exchange a look. The silence is filled by a soft RUMBLING SOUND. They stand together, waiting. Pendergast points his gun at the hall leading back to the deputies. A ridge of hair on the dog's back rises and it growls. PENDERGAST Identify yourself! Who's there? No answer. The rumbling continues, growing louder. Then a dark object appears. It comes rolling out of the hallway, bounces in front of them and stops. Pendergast shines his light on. DEPUTY ONE'S HEAD! The mouth is open wide in terror. Across the cheek is a vicious claw mark. JONATHAN Oh. my. God! PENDERGAST -LRB- hisses. -RRB- Quiet. And now they hear a GUT WRENCHING SHRIEK that's abruptly cut off, followed by a second rumbling sound! Jonathan grabs Pendergast by the shirt, panicked. PENDERGAST Stay calm. They head quietly for the exit at the other end of room which seems to slope up. After they're gone a few moments the head of DEPUTY TWO rolls to a stop.", "EXT. MUSEUM - NIGHT Cabs and limousines tangle outside the west entrance. A huge rotating SPOTLIGHT is now turned on. Elegantly dressed men in dinner jackets and women in gowns rush to get out of the pelting rain, umbrellas jousting.", "INT. CUTHBERT'S OFFICE - EVENING Cuthbert's putting on his tux. He adjusts the cummerbund, humming happily as D'Agosta looks on. D'Agosta paces, highly agitated and worried. D'AGOSTA I'm telling you, something's wrong. I still have n't heard from Pendergast. I think you should call it off. CUTHBERT It's too late now. Guests are arriving. The Mayor's car is pulling up. D'AGOSTA I'll go down and speak to him. CUTHBERT -LRB- irritated. -RRB- You have n't got the authority. Only Pendergast can pull the plug. D'AGOSTA Pendergast may be in trouble. Do n't you understand? He still has n't come back. It's been over three hours - CUTHBERT He'll be back. Relax. We're in good shape. Your security is air tight. There've been no more incidents, nothing suspicious. There's no reason to call off the opening now.", "INT. GREAT ROTUNDA - NIGHT Resounding with the echoes of several hundred expensive shoes crossing the marble expanse and heading down the rows of palm trees leading to the Hall of Heavens. The palms themselves are festooned with orchids and violet lights. Somewhere inside, an invisible band is playing `` New York, New York''. An army of waiters in white tie thread their way through the guests carrying large silver platters crowded with champagne glasses. Cuthbert enters and crosses to meet The MAYOR and THE MAYOR'S WIFE. Photographers step forward and flashbulbs pop.", "INT. HALL OF THE HEAVENS - NIGHT Food is out. Hundreds of tables are set with black linen table cloths. Decorations have a dark, haunted house theme. A hum of activity floats up past the vast Corinthian columns into the circular dome above.", "INT. MARGO'S LABORATORIES - NIGHT An explosive sneeze rattles the beakers and dislodges the plant specimens. Margo interrupts her work at the computer to hand Greg a tissue as Frock looks on. KAWAKITA What kind of egg is it? MARGO It's reptilian. FROCK Like the claw. MARGO -LRB- cautious. -RRB- Let's not jump to conclusions. This egg could belong to any number of reptiles, Dr. Frock. FROCK -LRB- excited. -RRB- Come on, Margo. We're on the verge of something huge. Let's consider the possibility, just the three of us, alone in this room. What if John was right. I mean, what if? And he sent back an egg of his monster in the crates. When it got to the museum, it hatched. MARGO Several problems with that theory. For one thing, this egg is intact. For another, according to Pendergast, the crates were shipped here on a boat. Everyone on board was killed like Beauregard. If the thing hatched in mid - ocean, where did it go? Frock has no answer. Greg gestures to his computer screen. KAWAKITA I guess you're not interested in this plant anymore, but the chemical analysis is done. Frock reads the computer over Greg's shoulder. FROCK `` Genus : Unknown. Family : Unknown. Order : Unknown. Phylum : Unknown. Cripes, Margo, what did you give me? Is this an animal or one funky shrub?''. -LRB- to Kawakita. -RRB- I see you've been programming the computer vocabulary again. MARGO -LRB- points to a hexagonal symbol. -RRB- Look at this. An ambyloid reovirus protein. That explains why the computer's confused. The plant's infected with a virus. FROCK That's not so unusual. Many plants carry viruses. Like the burls on Maple trees. MARGO But a virus normally codes for other viruses. This one's making human and animal proteins. Listen to this. -LRB- reads. -RRB- `` Glycotetraglycine collagenoid. Weinstein's tropic hormone. 4 - monoxytocin supressin hormone.'' KAWAKITA These plant fibers are loaded with hormones! MARGO What kind of hormones? Kawakita pulls a heavy book from the shelf. The Encyclopedia of Biochemistry, thumbs to a page and reads. KAWAKITA 4 - monoxytocin is. `` A hormone secreted by the human hypothalamus gland.'' MARGO Try Weinstein's tropic hormone. The tension is rising in the room. Frock takes the book, looks this one up, reads silently and removes his glasses. FROCK A hormone secreted by the human thalamus gland. Kawakita and Frock look puzzled. Margo rises in agitation. MARGO This is it. This is what he, or it. is after! The plant has high concentrations of the same hormones found in minute quantities in the human brain! KAWAKITA So what? MARGO Pendergast told me the killer extracts and eats the hypothalamus and thalamus of the victim's brains! KAWAKITA -LRB- pales. -RRB- Eats them? MARGO Yes. Whatever killed Beauregard may have lived on this plant. When the crates were put in secure storage, they were out of reach. The killer could n't get them, so it got the next best thing. FROCK Beauregard's head. There's a moment of stunned silence. Then a LOUD BUZZER makes them all jump. MARGO It's all right. That means the G.S.E. has finished analyzing the claw DNA. Greg, you go find Pendergast and Lieutenant D'Agosta now.", "INT. MUSEUM HALLWAYS - NIGHT Kawakita tears up the dark stairs. He turns a corner and something JUMPS OUT at him. He almost screams. It's a DRUNK. DRUNK Hey, where ` za little boys room? KAWAKITA Down that hallway. But do n't stay long. You do n't want to be here alone.", "INT. MARGO'S LAB - NIGHT Margo and Frock enter and huddle over a sheaf of papers that the printer has spit out. MARGO All right, assuming the program is accurate, this is a description of the animal with that claw. -LRB- she reads. -RRB- `` Species unidentified. Genus : unidentified. Phylum unknown. Male, weight in excess of 240 kg. Brain capacity, 900 centimeters.'' That means it's highly intelligent. `` Quadrupedal.'' FROCK Quadrupedal! The other name for Mbwun. `` He Who Walks on All Fours.'' Margo and Frock exchange a look. Holy shit. Margo swallows and keeps reading. MARGO `` Nocturnal. External hair and bony plates. Locomotor speed 60 - 70 kilometers. Reduced optic chiasm''. poor eyesight. `` External mucoid nasal glands,''. very keen scent. `` Morphological characteristics : Highly robust. Aggressiveness : extreme.'' FROCK So the claw came from a huge creature with a preternatural sense of smell and poor eyesight that hunts at night. MARGO With the intelligence of a human being, the speed of a greyhound, and the strength of a grizzly bear. FROCK -LRB- a long moment. -RRB- Margo, what you've just described is a killing machine. MARGO And it's hungry. It's been two days since it's eaten. There are five hundred people arriving right now. The animal hunts at night and it has a keen sense of smell! All those people in one enclosed space. FROCK It's like ringing the dinner bell.", "INT. ENTRANCE TO SUPERSTITION EXHIBIT - ROTUNDA - NIGHT The crowd is now packed into the rotunda as the MAYOR cuts a red ribbon across the entrance to the exhibit and everyone applauds. Cuthbert is by the mayor's side. He steps forward and raises his hand for quiet. The crowd falls silent. CUTHBERT Thank you everyone and welcome. We're glad all of you were willing to brave the inclement weather to be with us tonight. Our special thanks to his honor, the mayor and his lovely wife. The Mayor takes a bow. More applause. CUTHBERT -LRB- CO N'T. -RRB- Some people have questioned whether a superstition exhibit belongs in a Museum of Science. Spells, incantations, demons, magic. these are forces that defy the natural laws. Superstition provides answers to the great questions based on fear. Science provides answers to the great questions based on truth. Science and superstition, then, are polar opposites. Mortal enemies, if you will. And that is why we are here tonight. We have come to learn more about the enemy, and thus to bring about its defeat. For every good, there is an evil, for every dark, a light. And so tonight. my friends, I give you ignorance, terror, unreasoning fear, pure evil. -LRB- smiles, gestures to the exhibit. -RRB- Have a great time. Everyone laughs, applauds again as Cuthbert and the Mayor lead the way inside. Kawakita is making his way over to D'Agosta. The crush at the entrance is incredible. KAWAKITA Lieutenant! It's me. D'AGOSTA What is it? KAWAKITA Dr. Green has to see you! D'AGOSTA Got my hands full here. KAWAKITA It's important. Please. You have to come! Pendergast, too. She's found out something. D'Agosta pulls out his walkie talkie. D'AGOSTA McNitt? D'Agosta here.", "INT. SECURITY COMMAND CENTER - MUSEUM - NIGHT Officer McNitt stands in the corner of the computer room, bathed in neon light. Running the security system is GEORGE, your basic computer nerd. Multiple screens all over show various rooms in the museum. Most are empty with the exception of those showing the exhibition. On these, the crowds can be seen entering the various rooms. McNitt holds his walkie talkie. MCNITT Yeah Lieutenant? I'm here. D'AGOSTA -LRB- ON RADIO. -RRB- I'm heading to the Evolutionary Bio labs. Any sign of Pendergast? MCNITT Not yet. At this moment a NOISE comes from the adjoining room. McNitt's head SWIVELS. It's a LOUD THUMP. MCNITT Hold on Lieutenant. -LRB- to George. -RRB- What was that? GEORGE Probably just something wrong with the air conditioning. There's a shit load of electrical rooms back there. George is playing an elaborate computer game and not paying attention. McNitt returns to his walkie talkie as the THUMP comes again. Now he looks distinctly nervous. MCNITT Lieutenant? There's something wrong in the computer room. D'AGOSTA -LRB- ON RADIO. -RRB- Goddamn it. I'll get Ippolito and send him up. George rises. GEORGE You're over - reacting. Sounds like the air conditioning to me. McNitt watches uneasily as George opens the door, disappears into the next room.", "INT. ENTRANCE - SUPERSTITION EXIBIT - NIGHT D'Agosta turns to Kawakita who waits, shifting from foot to foot. D'AGOSTA Damn. There's some kind of problem in the computer room. I have to go get Ippolito. You wait here. D'Agosta heads into the exhibit before Kawakita can protest.", "INT. SUPERSTITION EXHIBIT - NIGHT We see various cuts of people as they move into the different rooms. A TEENAGE GIRL -LRB- LAUREN -RRB- and her FATHER -LRB- DAVID -RRB- examine a lidless, rotting European style coffin, complete with corpse. A white haired gentleman -LRB- DR. POUND -RRB-, leans on his cane as he looks at a display on primitive medicine practiced with implements that look like torture tools. Cuthbert and Ippolito are at the head of a press of people, giving the MAYOR and HIS WIFE a guided tour. CUTHBERT Here we have a very rare sacrificial table from Mesoamerica. The priests would kill the victim on this slab, cut out the heart and eat it while it was still beating. MAYOR I could use one of these things in City Hall. Cuthbert laughs right on cue. They pass a Congo power figure with its bulging eye sockets and torso riddled with sharp nails. Several people recoil from it, looking repulsed. The MAYOR's WIFE sees it and looks distressed. MAYOR'S WIFE You're letting kids see this? I should think they'd have nightmares. CUTHBERT Kid will love it. They're our target audience. Nothing here is as violent as what they see on T.V. They pass a MUMMY dripping in BLOOD. The Mayor gestures to it. MAYOR I do n't know. That could be a little over the top. It's not even scientific. Mummies do n't bleed. Cuthbert's smile fades as he sees the mummy. CLOSE ON. the MAYOR'S WHITE CUFF as he extends his hand to point at the mummy. The pristine white of his cuff is suddenly colored by a falling RED DROP OF BLOOD. Cuthbert sees it. So does the Mayor and Ippolito. They look up as another DROP OF BLOOD falls right on Cuthbert's face. And yet another droplet falls on THE MAYOR'S WIFE'S white bosom, exposed by her low cut dress! CUTHBERT Oh. my. God. THEIR POV. above the mummy's head, the top of the case is cut away, exposing a ceiling crawling with steam pipes and ductwork. A hand, a watch, and the cuff of a blue shirt protrude over the edge of the case. A small icicle of blood hangs from the middle finger. And another drop FALLS. CUTHBERT SCREAMS AT THE TOP OF HIS LUNGS! Conscious of the panic factor, Ippolito yells. IPPOLITO Quiet everyone! But it's too late. The room is packed with people. And D'Agosta himself is just pushing through the door as another woman cries out. WOMAN There's a body up there! A ripple of fear goes over the faces in the room, titters as people wonder if it's a joke. At that moment from the darkness above, the ceiling buckles and something FALLS! It's OFFICER DOYLE'S HEADLESS TORSO, dripping blood! UTTER PANDEMONIUM breaks loose! The close space ECHOES with screams and shouts. People claw at each other, stumbling desperately trying to get to the door. A YOUNG WOMAN falls and D'Agosta runs to her to keep her from being trampled in the stampede.", "INT. COMPUTER ROOM - NIGHT McNitt is staring in horror at the remote camera images showing the chaos in the exhibition, the faces registering blind fear. Alarms start going off all over the place. McNitt calls out. panicked. MCNITT George! Get out here, now! McNitt looks around, desperate. But George still is n't here. The door to the electrical room is still open. The ceiling shudders from thundering feet. McNitt can hear distant SCREAMS! It's raising the hair on the back of his neck. He calls out. MCNITT George! Where are you? No answer. He moves to the open door, a new fear in his eyes. He looks inside.", "INT. ELECTRICAL ROOM - NIGHT BLACKNESS. McNitt ca n't find a light switch. He stays in the doorway, silhouetted by light from the computer room. With shaking hands McNitt pumps a slug into the chamber of his shotgun. There's a strange, low, gurgling sound. It's McNitt's stomach. He silences it, swallows. MCNITT Hey you? George! Damn it. Where are you? No response. McNitt edges into the darkened rooms. The first one's empty. He tries the next. MCNITT George! We've got an emergency! Are you here? Suddenly there's a HUGE THUMP and a scuttling to his left! It's a terrifying sound! McNitt drops to his knees and pumps three rounds, each with a light and a deafening blast! A SHOWER OF SPARKS and a gout of flame licks upwards, illuminating the room with orange light. A HUGE DARK SHAPE ducks out the door! MCNITT Oh God. Oh God! Gunpowder hangs in the air like a blue fog. On the far wall, a mounted metal box is smoking from three large, ragged holes! With a sudden pop, an electrical arc slices across the ruined box, followed by a crackling and a shower of sparks. McNitt ducks back into the computer room, slams the door and locks it, breathing hard.", "INT. COMPUTER ROOM - NIGHT Every single screen flickers and dims. But to McNitt's relief, George has returned. He is sitting with his back to the doorway in his chair. MCNITT George! I saw something in there! I fired but I think I missed it! George remains still, his back to McNitt, staring at the computer game on the flickering screen. MCNITT George, for Chrissake answer me! McNitt puts a hand on George's shoulder, swivels his chair around. ON GEORGE. His face ripped off.", "INT. ELECTRICAL ROOM - NIGHT ON THE CENTRAL SWITCHING BOX. sparking and shorting as an ENORMOUS CLAWED ARM SWIPES IT OFF THE WALL!", "INT. HALL OF THE HEAVENS - NIGHT Everyone pours out of the exhibit, running for the door leading to the Rotunda. People are getting trampled. It's a terrible crush. Screams! Tables over - turned everywhere. Food scatters to the floor. D'AGOSTA pushes his way out of the exhibit, crosses to Kawakita, who is appalled. Above, the chandeliers are flickering. KAWAKITA What happened?! D'AGOSTA There's a dead body in the exhibit! People are panicking, trampling each other trying to get out. Ippolito runs over to join them. D'AGOSTA What the hell is going on?! Above them THE LIGHTS dim again and come back on. IPPOLITO The whole system is shutting down! We have to get out quickly before the fire doors fall! D'AGOSTA What doors? IPPOLITO I told you! They seal off all the cells. They were designed to fall automatically in a system failure - D'AGOSTA You said the system could n't fail! At this there's a low rumble from above. D'Agosta looks up and sees A LARGE METAL DOOR IS DESCENDING from a slot in the ceiling, and not in an orderly fashion. It's falling fast. Below are crowds of people, all pushing to get out! Officer Bailey, near the door, sees it. BAILEY Above you! Look out! His voice is lost in an ocean of screaming. Kawakita stands in total horror a moment, then joins Bailey and D'Agosta. All of them try to restrain people from trying to beat the door. Ippolito, on the other hand, elbows his way to the front of the fleeing crowd! D'AGOSTA Ippolito! Get back here! IPPOLITO Like hell! Ignoring D'Agosta, Ippolito pushes past. He barrels over an OLD MAN who stumbles and falls DIRECTLY BENEATH THE FALLING DOOR! Ippolito jumps over him and is out! The old man looks up at the descending wall of steel and SCREAMS! D'AGOSTA runs forward, dives for the old man but he's not in time. Kawakita covers his eyes, unable to watch as the lights flicker a third and last time. The room is plunged into darkness. And over the screams we hear the rumble and CRASH, the horrifying cries of the old man, as the door comes down.", "INT. MARGO'S LAB - NIGHT Margo and Frock stand in the darkness. Through a high window we can see lightning flash. MARGO What's going on? FROCK Some kind of power failure. Maybe it's the storm. Do you have a flashlight? MARGO I think so. She gets one from a cupboard. FROCK Greg's been gone over a half hour. We'd better get out of here. Get the crate.", "INT. HALLWAYS - NIGHT Frock wheels his chair as fast as he can. Margo runs beside him carrying the crate with the fibers inside. A peel of thunder ends and distant screaming is heard. Margo stops, appalled. MARGO Dr. Frock. Did you hear that? FROCK Do n't stop now. Up ahead they hear METALLIC RUMBLING and a CRASH! They round a corner and come up against a huge STEEL DOOR. MARGO What's that? FROCK It's one of the fire doors. Good Lord, Margo. We're trapped!", "INT. BASEMENT - NIGHT Pendergast stands at the end of a cul de sac, studying the blue prints by a stone wall. Jonathan and the dog are with him, exhausted and terrified. Jonathan keeps an eye on the corridor behind them as Pendergast works. PENDERGAST I know where we are now. We're getting out, Jonathan. This should be another door. Taking a pen knife from his pocket, Pendergast places it into the plaster and gently twists the blade. A piece of plaster the size of a dinner plate falls, revealing the tracings of another doorway. Pendergast shoves the door open to reveal a dark, dusty room. JONATHAN Hallelujah, Pendergast. Where the hell are we now?", "INT. \"ALCOHOLIC\" ROOM - NIGHT Jonathan and Pendergast enter quickly from the hidden rear door. Pendergast shines his beam on dusty shelves filled with specimens. All are stored in jars of alcohol. There are fetuses of many different species. We see a pig, a cow, a duck billed platypus as well as brain sections, a disembodied monkey head. One rectangular glass container holds a skinned human foot. JONATHAN Jesus, what is this? PENDERGAST Another storage room. Pendergast tries the light switch to no effect. PENDERGAST Something's happened. The power's out. They cross the room to the main door and exit. Now they're in.", "INT. OSTEO PREP - LAB - NIGHT Pendergast shines his light on the maceration tanks. The humming of the bugs can be heard in their cabinet. PENDERGAST All right. I know where we are. This is the osteo prep lab. I was in here earlier. We're safe now. With these words, the dog GROWLS. Jonathan freezes and sniffs the air. JONATHAN Oh no. I smell it. PENDERGAST Keep the animal quiet. Jonathan kneels by Hobbes as Pendergast listens, every nerve on end. A sound comes from the adjacent hallway that leads to the secure storage area. It's unmistakable HEAVY BREATHING and the creeping movement of claws. Pendergast lifts his gun. PENDERGAST Go out the other doorway. There's a stair at the end of the hall. Up five flights is a corridor that leads to the Hall of the Heavens. Find Lieutenant D'Agosta. Bring help. Jonathan does n't have to be told twice. He takes the dog and exits from the other side of the lab leaving Pendergast alone. Pendergast waits a moment until Jonathan's safely out of sight. He switches off his flashlight, backs up slowly, step by step. He opens the door to the alcoholics storage. As he slips inside a DARK SHAPE appears.", "INT. \"ALCOHOLICS\" STORAGE - NIGHT Slowly, making no sound, Pendergast lifts the.45 Anaconda, passes his finger over the cylinder, checking the loaded chambers. Then he steadies the revolver and levels it at the door. The hideous pickled specimens seem to hover all around him. The smell is overwhelming and the snuffling is louder now. It's coming closer. After a long moment there is a faint bump at the door. This is followed by a low scratching noise. Pendergast watches frozen in horror, holding his breath. THE DOORKNOB BEGINS TO TURN! Not knowing what else to do, Pendergast simply grabs it from the inside and holds on! OUTSIDE he hears an AMUSED SNORT, then a LOW GROWL. There's ONE HARD HIT and the door shivers. THE DOORKNOB FALLS OFF! It's over now. Pendergast kneels down, bracing the gun in both hands. From this position he can see right through the hole where the doorknob fell. His mouth literally drops in astonishment as he sees. a HUGE, red - rimmed, GREEN EYE! Involuntarily Pendergast LEAPS BACK, nearly falls and drops the gun! Beakers crash around him. He scrambles in the darkness. The flashlight falls and pops back on. The beam streaks up crazily. It's chaos. Pendergast is an easy target now. He grabs for the light, the gun, steadies himself, breathing fast and low. His heart pounds. But nothing more happens. The silence is heavy. The eye is gone. And suddenly Pendergast understands. In the distance he can hear HUMAN VOICES and a rolling wheelchair! Somewhere nearby are MARGO AND FROCK! The monster has left him to get bigger game. Fear for Margo and Frock lights Pendergast's eyes. All panic and disorganization are gone. He holds his revolver at 12 o'clock and KICKS the door open, leaps out as A HUGE DARK SHAPE DARTS FROM THE ROOM. It's headed for the secure storage areas again! Pendergast takes off. Not knowing how else to address this thing he finds himself calling. PENDERGAST Halt!", "INT. SECURE STORAGE HALLWAY - BASEMENT - NIGHT Pendergast runs into the hallway but he's already too late. The hulking shape of the quadruped is moving at incredible speed. ON PENDERGAST. as he levels his gun and shoots. THE CREATURE. stops, rears back on its haunches, looks once at Pendergast, pissed. As the VOICES around the far corner fall silent, Pendergast FIRES. The shot blasts off a piece of the wall. With astonishing speed and agility for its bulk, the beast turns and leaps around the corner, passing out of Pendergast's sight. PENDERGAST Margo! Frock! It's coming! Run! AROUND THE CORNER. Are MARGO AND FROCK. Frock holds the keys to secure storage area 1012 in his hand. Margo has the flashlight and the crate with the fibers. They can hear the sound of thundering movement. FROCK Look! Margo points her light in the distance and illuminates the beast! It's descending like a freight train. One split second of sheer amazement, then. MARGO Dr. Frock! Quick! Frock, immobilized in his wheel chair, stares at the monster, like a trapped rabbit looking at a descending hawk. Margo grabs his keys from him, fumbles desperately to open the door. It swings wide at last. She grabs the handles of the wheelchair, tugs with all her might. The wheels bump into the door frame but somehow she wrestles the damn thing inside.", "INT. SECURE STORAGE AREA - NIGHT Margo shoves Frock behind her, slams the door shut. Seconds later, the beast throws itself against the storage door. They hear it outside, growling in fury, claws lashing out. Margo and Frock press back in the darkness, terror in their eyes.", "INT. HALLWAY - NIGHT Pendergast runs forward in the echoing hallway, his gun drawn, his flashlight on. A few more steps and he holds hard. His eyes go wide in astonishment as his light illuminates the beast. It's tearing at the steel door furiously with incredible force. As the flashlight beam hits it, MBWUN roars and looks up. Now we see it clearly for the first time. The monster is MASSIVE, putrid, rank. Slit reptilian green eyes are rimmed in red. A ridge of stiff black hair rises on the creature's buffalo - like humped back. The withers are muscled and covered with plates. A forked TONGUE licks out as purple lips draw back exposing razor sharp teeth. The claws raise up to fend off the light. PENDERGAST steadies himself with difficulty, takes a few seconds to aim with the greatest care. Mbwun makes a move towards him and he squeezes the trigger hard. The gun echoes in the hall. A split second and a white streak moves right up the beast's cranium. A direct hit. The shot echoes and Mbwun drops it's claws. The flashlight continues to shine like a high beam right into the beast's eyes. Angry and blinded, the creature turns and in a moment, lopes off. Pendergast watches, unimaginably relieved. Realizing what just happened, his knees start to buckle. He catches himself, wipes one hand across his eyes. A voice comes from the storage room. MARGO -LRB- OS. -RRB- Pendergast? Are you all right? PENDERGAST No. I think I'm hallucinating. The storage door opens slowly and Margo looks out. MARGO You're not. Where is it? PENDERGAST -LRB- shakes his head. -RRB- Gone. MARGO Wounded? PENDERGAST No. A chromium alloy tipped.45 caliber bullet bounced off that thing's skull like a spit ball. I think it was bothered by my light. MARGO That would fit. It's nocturnal. Quick. Come inside.", "EXT. MUSEUM - NIGHT As hundreds of the guests emerge into the pounding rain. crying, terrified, unclear what exactly happened. These are the lucky ones. Among them we find IPPOLITO. His walkie talkie is squawking. The windows of the museum behind him are black. D'AGOSTA ON RADIO Ippolito! Where the hell are you? We're trapped in here! We need help! Ippolito! Come in, dammit! Ippolito sits down on the steps in the rain, knowing the extent of what he's done. The wheels are working hard now, trying to figure out damage control. The walkie talkie keeps calling. He does n't respond.", "INT. HALL OF THE HEAVENS - NIGHT Tables are overturned, food lies on the ground, people cower in the darkness. D'Agosta crouches in some broken glass with his walkie talkie. He shuts it off, rises, looks around. Light comes from a few sputtering candles. Most of the guests still trapped inside are grouped around the lowered steel door. Among them are KAWAKITA and CUTHBERT. From the BODY of the man crushed underneath the door extends a large puddle of blood. Bailey is working in desperation on a brass panel by the door. BAILEY Manual overrides are n't working. I'm getting nothing, Lieutenant. D'AGOSTA Great. Frank, the father of the teenage girl, Lauren, steps forward. FRANK There's no power. The whole system's down. The crowd starts to murmur. One man yells. MAN We're trapped! And there's a killer in here! D'AGOSTA We'll get out safely if everyone stays calm. Is anyone else hurt? The MAYOR stands. His wife's forehead is bleeding. MAYOR Yes. My wife. D'AGOSTA Is there a doctor? The distinguished grey haired man with a cane comes forward. DR. POUND. POUND I'm Dr. Pound. D'AGOSTA Check this woman and see if anyone else needs you. Pound moves off. Everyone spins now at the incongruous sound of a DOG BARK. D'Agosta pulls his gun. The door to a stairwell at the far end of the room opens and Hobbes bounds into the hall! He's followed by Jonathan, who is filthy and wild - eyed. JONATHAN -LRB- calls. -RRB- Lieutenant D'Agosta! Do n't shoot. D'AGOSTA Where's Pendergast? JONATHAN -LRB- crossing, breathless. -RRB- Five flights down. We were lost in the sub - basement. Something's down there. It killed our two deputies. When I left Pendergast it was coming back. He sent me for help. We have to hurry. D'Agosta makes a quick sweep of the room with his flashlight. The remote corners of the hall are so black the light seems to disappear. In the center, two men are bending over a still form. One of them is Dr. Pound. D'AGOSTA Both of you. Get back here. POUND But he's still alive - D'AGOSTA Get back now! The urgency in D'Agosta's voice gets everyone's attention. The Mayor brings his wife over. Cuthbert comes too. They huddle apart from the others. Cuthbert's white with fear. CUTHBERT What's going on? D'Agosta speaks low. D'AGOSTA There's some kind of animal loose in the museum. Pendergast's alone. He needs help. I want volunteers to go with me. BAILEY I'm in. KAWAKITA -LRB- swallows. -RRB- Me too. CUTHBERT -LRB- voice rising in fear. -RRB- I'd do it gladly but someone needs to stay with these people. D'AGOSTA All right. You're elected. Bailey, get all the guns and flashlights, give the mayor your walkie talkie so we can keep in touch. Cuthbert, keep everyone together and make sure they stay quiet. Frank steps forward. FRANK I was in the Marines. Give me a gun. I'd go with you, too, but I've got my daughter. D'AGOSTA What's your name? FRANK Frank. D'AGOSTA All right. You guard these people and your daughter. D'Agosta gives Frank his service revolver. MAYOR'S WIFE -LRB- to D'Agosta. -RRB- Where are you going? Do n't leave us alone! The remaining crowd begins to whimper. The Mayor rises. MAYOR Everyone quiet. The Lieutenant's in charge. Bailey and D'Agosta carry shot guns. They quietly move to the back stairwell at the far end of the Hall of the Heavens. Everyone else bunches together and watches. D'AGOSTA Bailey, we'll go first and check the stairwell. Jonathan, you and Greg guard the door. Jonathan gives Hobbes' leash to the Mayor. D'Agosta hands Greg Kawakita a shotgun, tightens his grip on his own. Then he gives the signal and Bailey yanks open the door to the stairwell.", "INT. STAIRWELL - NIGHT D'Agosta and Bailey go in slowly. Jonathan stays in the doorway, sweeping the stairwell with his flashlight. Kawakita gingerly holds his shotgun. He's scared out of his mind. He turns to Jonathan, whispers. KAWAKITA Excuse me. Could you tell me how this thing works? JONATHAN Oh Jesus. Do n't point it at me. Just aim and shoot. D'Agosta heads down the stairs in the lead, with Bailey close behind. The stairwell is windowless and dark. D'Agosta shines his light and it cuts into the blackness. He moves quietly, makes the first landing and stops. Bailey watches his back from several steps behind as D'Agosta signals for him to wait. The flashlight flares into a glass door one flight down. D'Agosta raises his hand. D'AGOSTA -LRB- low. -RRB- Hold on. I thought I saw something. Everyone stops. Bailey pumps his shotgun. So does Jonathan. Kawakita fumbles to do like the others. They wait. D'Agosta moves alone down several more steps. The silence is heavy. Suddenly D'Agosta wrinkles his nose. D'AGOSTA Whoa. You smell that? JONATHAN Lieutenant! Get back! Too late. At this something DROPS FROM ABOVE! A huge dark shape LEAPS INTO THE STAIRWELL, descending two floors! It lands, pounces on BAILEY and the marble walls echo with a ROAR. D'AGOSTA BAILEY! Bailey SCREAMS in terror as Mbwun pins him down! BAILEY NOOOOO! CLOSE ON BAILEY. Three claws close on his neck and WRENCH HARD! There's a horrifying snap as Bailey's HEAD COMES OFF! Blood SPURTS all over and drips down the stairs. D'AGOSTA levels his shotgun at the monster and fires, with no apparent effect. When the shots stop echoing we hear SCREAMS and FRANTIC BARKING from the hall. MBWUN'S GREEN EYES look up and it's FORKED TONGUE LICKS OUT. The monster LEAPS PAST Bailey's body and heads for the door! D'Agosta, seeing what's happening, screams at the top of his lungs. D'AGOSTA Jonathan! Do n't let it get into the hall! ON JONATHAN. frozen in the doorway, Kawakita by his side. Both of them are rigid with horror. Disbelief in their eyes. The BEAST leaps up directly at them as they jump to try and close the door. D'Agosta keeps firing until he's pumping an empty chamber. Plaster is falling all around. SCREAMS resound in the Hall of the Heavens as D'Agosta stumbles up the stairs.", "INT. HALL OF THE HEAVENS - NIGHT D'Agosta throws open the doors and charges into the Hall. Jonathan lies on the ground, dazed. Kawakita stands to one side, teeth chattering in shock. His hand shakes so badly that the barrel of the gun swings in his hand. D'AGOSTA -LRB- yells. -RRB- Where is it?! JONATHAN I do n't know! It hit me hard. D'Agosta pumps two shells in the shotgun. Screams can be heard from the people crouched together at the edge of the room. Hobbes is barking wildly, foaming at the mouth. It's too dark to see what's happening. D'AGOSTA -LRB- screams. -RRB- Somebody tell me! Where is it now? MAYOR -LRB- quiet. -RRB- Lieutenant. In the south corner. D'Agosta sweeps his light to the Mayor who stands rigid in front of the others, points to his left. The light moves to the far end of the room where THE DARK SHAPE OF MBWUN crouches over the body of a man. It's lunging up and down with odd, jerking motions. The man is long past making a sound. From the monster comes a faint crunching and slobbering. Jonathan rises, comes to D'Agosta. So does Frank. They stand shoulder to shoulder, raise their guns. D'Agosta motions for Kawakita. D'AGOSTA On three. Kawakita stumbles to join them, tries to join in. The barrel of his shot gun still swings wildly. He steadies it by taking it in both hands. D'AGOSTA One, two. three. All three fire. There's a loud report. The kickback knocks Kawakita backwards. Screams erupt from the huddled group. Hobbes abruptly shuts up. The men fire and fire until there's nothing left. D'Agosta reaches for more shells, comes up empty. D'AGOSTA Jonathan! Get everyone behind me! Jonathan moves. D'Agosta sweeps his light across the room but already the shape is gone. Cuthbert hides behind the Mayor, calls out in a terrified squeal. CUTHBERT It went out the door to the rotunda! D'Agosta runs across the room to a set of double industrial doors. There's a noise in the darkness beyond and he just manages to slam both doors. He picks up a metal chair and jams it through the handles. Backs up. The doors shudder as something hits them hard. D'AGOSTA Get everyone into the stairwell! Jonathan, the Mayor, Cuthbert and Kawakita together herd everyone towards the stairwell. They move inside.", "INT. STAIRWELL - NIGHT Dark and close. The smell of gunpowder and death. The Mayor's Wife sees Bailey's body and clutches her mouth so as not to throw up. CUTHBERT Sweet Jesus! D'AGOSTA Get his gun and his walkie talkie, Jonathan. Move. CUTHBERT My office is on the third floor! There's a walk - in safe and a portable phone! We can lock ourselves in the safe and call for help! D'AGOSTA I have to help Pendergast. Kawakita and Jonathan stay with me. The rest of you can go with Cuthbert! MAYOR I think we should stick together! FRANK -LRB- taking Bailey's shotgun. -RRB- Me too. CUTHBERT I'm leaving. Whoever wants can come with me. No one follows. D'AGOSTA Wait! Cuthbert's gone. D'AGOSTA Jonathan, go with him! He is n't armed. Jonathan grabs Hobbes' leash from the Mayor and bounds up the stairs. MAYOR Good luck! Everyone else follows D'Agosta. Together, they head down.", "EXT. MUSEUM - NIGHT Police cars are pulling up outside the museum. Sirens wail. Torrents of rain limit the number of onlookers. Crowds of people are scattered about. There's disbelief on everyone's faces. Many people are in shock. Ippolito sprints through the pelting rain to a GUARD STATION near the gate. He yanks the door open and jumps inside.", "INT. GUARD STATION - NIGHT A number of museum security personnel are milling in confusion. IPPOLITO All right everyone. I'm in charge. Status report. One of the security men, WATERS, rises. WATERS Swat teams are on the way. Fire trucks with them. Everything's slowed down because of the rain. We're bringing in portable generators. They'll get the emergency lights working but they wo n't pump enough power to lift the doors. Ippolito pulls out his walkie talkie. IPPOLITO D'Agosta? Ippolito. Come in. D'AGOSTA -LRB- ON RADIO. -RRB- -LRB- a string of curses followed by. -RRB- Where the hell are you? IPPOLITO I made it outside. I'll co - ordinate the rescue efforts from here. Help is on the way. Just sit tight. D'AGOSTA -LRB- ON RADIO. -RRB- It's a little late, you son of a bitch. There's a friggin' monster loose in here! Get the FBI, the fire department. Find metal cutters, cut through. And bring a cannon. The damn thing is huge. A long moment as the men look at each other. WATERS Did he say monster? IPPOLITO Panic attack.", "INT. MUSEUM STAIRWELL - NIGHT D'Agosta's group has reached a lower floor. Here this stairwell ends. Ahead stretches the hall of the Asian peoples. IPPOLITO -LRB- OS. -RRB- D'Agosta, put on the Mayor. D'Agosta passes the walkie talkie to the Mayor. MAYOR Mayor Jordan here. IPPOLITO -LRB- ON RADIO. -RRB- This is Ippolito, head of museum security. Relieve D'Agosta and take command. MAYOR Do n't tell me what to do you chicken shit bastard. I saw you cut and run! Lieutenant D'Agosta stayed with us. He is in charge. There is a monster. I saw it. Cut through those doors and get us out of here, now! The Mayor shuts off the walkie talkie and they round another corner and disappear from sight.", "INT. SECURITY ROOM - NIGHT Ippolito finds Waters and the others staring at him. Humiliated, he swallows hard. IPPOLITO All right. The steel doors are designed to retard cutting. We can go through them, but it would take hours. WATERS The quickest way in would be to go through the roof, sir. Cell two goes up to the fifth floor. There are sky lights up there. IPPOLITO Co - ordinate with the fire department and SWAT teams. Move.", "INT. HALL OF THE ASIAN PEOPLES - NIGHT It's very dark. The huge shape of MBWUN can barely be seen sliding out of the stairwell and into the Hall of the Asian Peoples. Then DIM RED HALL LIGHTS come on in the corners of the ceiling. The monster utters a low growl. The emergency generators are beginning to come on. The animal lopes to the spot where we last saw D'Agosta and his group, sniffs the ground. It looks up and, with a curiously human gesture, cocks its massive head. The silence is broken by VOICES! They're in the distance and muffled, but definitely there. The monster crouches eagerly, lopes forward with great stealth. The voices are getting louder. We follow as it goes through the hall and down. A STAIRWELL. At the bottom, Mbwun quickly turns a corner. The voices have stopped. Mbwun creeps forward, enters.", "INT. HALL OF MARINE ANIMALS - NIGHT A huge room several stories high. A WHALE hangs suspended from the ceiling. Dioramas of fish line all the walls. Mbwun pauses next to a diorama of the gentle, vegetarian sea cow, THE MANATEE. The two make a startling contrast. A pause and then the voices are heard again, much louder now. The source is right around the edge of the Manatee display. Mbwun LEAPS FORWARD, claws lashing out. He turns the corner and crashes through a wall of GLASS as he grabs at the source of the voices. A display of small, extraordinarily life - like TALKING HOLOGRAMS! They've been re - activated with the emergency power system. Each little talking figure is no more then five inches high. They move around a small three dimensional display of marine animals, explaining the lung systems of fish. MBWUN. stands in the pile of broken glass, stares at the holograms, mesmerized. He makes a noise that sounds astonishingly like a CHUCKLE! Then he reaches out one long claw and tries unsuccessfully to touch one of the holograms. But the shadowy creatures ca n't be caught. The beast seems to realize this, SNORTS and moves off. As he goes he passes behind a LARGE GLASS ELEVATOR. It stands in middle the open room. The elevator is designed to carry people upstairs and down in the two story exhibit. In the dim light, with his poor vision, the monster does n't see D'Agosta, the Mayor, Kawakita, and their entire group SANDWICHED INSIDE. The monster exits the exhibit and quietly D'Agosta slides the doors open. Everyone, all thirty - five people in evening clothes, quickly get out and run across the exhibit to another stairwell at the far side of the hall.", "INT. SECURE STORAGE AREA 1012 - NIGHT Margo, Frock and Pendergast wait in the darkness. Pendergast, for the first time, seems fazed. PENDERGAST I do n't know how to deal with this. It's hellish. Like nothing I ever saw. I'm not trained to deal with a monster, a supernatural creature like that. MARGO It's not supernatural. Mbwun is an animal. Part lizard, part human, a genetic freak of some kind, like the half - goat, half - sheep they found last year in the jungles of Vietnam. PENDERGAST But this is n't the jungle! This is New York. How did it get here? A thing like that crossed two continents. It makes no sense! FROCK -LRB- lame. -RRB- We think it may have something to do with the eggs we found in the crate. PENDERGAST I do n't believe it. MARGO None of that matters now. The people upstairs need us. We have to help. FROCK We ca n't. We've managed to get inside the one place that's safe. I think we should sit tight and wait for reinforcements. If we go outside, we're risking more lives. You have to accept it, Margo, there's nothing we can do. The building must be swarming with police by now. It wo n't take long for them to get through the doors. MARGO That thing could kill ten people in a matter of minutes. PENDERGAST But what can we do? Our guns are useless - MARGO We have the fibers. Do n't you see? The creature is hungry. It wants the hormones in these plants. It would take hundreds of human brains to supply what's in these fibers. We're just a poor substitute. To make it stop hunting, we have to give it what it wants.", "INT. CUTHBERT'S OFFICE - NIGHT Cuthbert enters with Jonathan and the dog, Hobbes. Cuthbert locks the door with shaking hands. He mutters to himself in terror. CUTHBERT Solid oak. Two inches thick. Tell me they'll hold. Cuthbert scurries to his desk and pulls out a Ruger.38 Magnum. CUTHBERT I got it after I was mugged in the subway last spring. JONATHAN Where's the walk - in safe? CUTHBERT Behind you. JONATHAN What's the combination? CUTHBERT I'll do it. Just let me find my portable phone. He rummages in the darkness, going through his desk. JONATHAN Forget it! CUTHBERT Calm down. I found it! Cuthbert flips the phone open and turns it on. CUTHBERT Battery's dead. Shit. JONATHAN Let's go! Cuthbert crosses to a huge wall safe, starts frantically turning the tumblers. Jonathan follows with the dog. CUTHBERT That thing wo n't come after us, right? It's going for bigger game. The group blundering around in the basement. Poor fools. JONATHAN Hurry up! CUTHBERT Just a minute. I'm shaking! Take the gun. Cuthbert fumbles to hand over the Ruger. As he does, something drops. CUTHBERT Oh God! I dropped my rabbit's foot! Cuthbert drops to his knees, groping in the darkness. JONATHAN For Chrissake, I'll do it. What's the combination?! CUTHBERT To the left twice then five no. sorry. I think it's fifteen. it's been a while. JONATHAN Oh Jesus. Jonathan starts again, sweating. The tumblers fall with agonizing slowness. Cuthbert continues groping frantically for his good luck charm. Meanwhile, unnoticed by Jonathan, the dog is staring at the oak doors. We see the HAIR ON HIS BACK rise! JONATHAN Fifteen. what's next? CUTHBERT Eight to the right! Look! I found it! Clutching the rabbit's foot like a talisman, Cuthbert leaps up just as the last tumbler falls. At this the oak doors behind them CRASH OPEN, splintering like so many match sticks. Cuthbert SCREAMS in a high pitch whine at the sight of the beast. The dog barks wildly at Mbwun! Jonathan lifts his shot gun. But the monster barrels past him and zeros in on Cuthbert! A HUGE RED TONGUE LICKS OUT and encircles Cuthbert's waist! It squeezes him horribly, drags him towards the open jaws! Cuthbert bellows like a lamb being led to the slaughter. He opens his hand and the rabbit's foot drops! The last Jonathan sees of Cuthbert is his head disappearing down Mbwun's throat. Hobbes barks and whines in terror. Jonathan takes the leash and drags the animal out.", "INT. MUSEUM HALLWAYS - NIGHT Jonathan and Hobbes tear down the hallway and disappear. Behind them comes a roar so loud it rattles the walls.", "INT. HALLWAYS - SECURE STORAGE AREA - NIGHT The door opens slowly and Pendergast appears. He shines his beam in both directions. PENDERGAST All clear. Margo and Frock quickly come out. Margo holds the crate. Frock tries to follow in his wheelchair. FROCK I'm coming with you. MARGO No, Dr. Frock. You ca n't. PENDERGAST You'd slow us down and put Margo in danger. MARGO Unlock one of the other storage rooms. We're going upstairs. We'll leave a trail back to 1012 and try to trap the monster in here. FROCK Margo, this is too dangerous. You always think you can solve everything. This time you do n't have enough information. The animal might behave in unexpected ways. -LRB- to Pendergast. -RRB- Leave her here with me. Do n't put her in danger. PENDERGAST He's right. MARGO No. You'll need me - At this a LOUD SOUND comes from upstairs! FROCK What's that? PENDERGAST Footsteps! MARGO No, not footsteps! People running for their lives! All three know this ends the discussion. Frock opens the door to room 1010. Inside are shelves of priceless ivory tusks. Margo takes Pendergast's handkerchief and wraps her hand. She quickly sprinkles some of the fibers inside the door to room 1012. Before Dr. Frock disappears into room 1010, he looks back to Margo one last time. FROCK Come back and get me. MARGO We will. FROCK Remember, it has poor eyesight. It hunts with its sense of smell. So for God's sake, Margo, do n't get those fibers on your clothes!", "INT. OSTEO PREP - NIGHT Margo and Pendergast emerge from the hall to the storage rooms and run for the far stairs. From somewhere above the sound of running is louder now.", "INT. PLANETARIUM - NIGHT D'Agosta and his group enter the large domed space in disarray. They're spread out and panicked, the young helping the old. Dr. Pound is finding it hard to keep up. Frank and his daughter Lauren bring him along. The Mayor quietly urges people forward. His wife's face is streaked with tears. Kawakita runs with D'Agosta. KAWAKITA It's still back there! D'AGOSTA I know. Now a voice is heard in the distance. PENDERGAST -LRB- OS. -RRB- Where are you? Who's there? Everyone stops. D'Agosta shines his light into the large space. Above them constellations glow. D'Agosta calls out. D'AGOSTA Pendergast!", "INT. HALL OF NORTH AMERICAN MAMMALS - NIGHT Margo and Pendergast run. Margo carries the crate carefully wrapped in Pendergast's jacket. PENDERGAST That was D'Agosta. MARGO The planetarium! PENDERGAST -LRB- calls out. -RRB- Vince! D'AGOSTA -LRB- OS. -RRB- Over here! There's a double steel fire door at the end of the hallway. Pendergast and Margo run for it. Pendergast shoves at the door. It wo n't budge. There's a small glass window. In it, D'Agosta's face appears. D'AGOSTA -LRB- through the window. -RRB- Pendergast! Help! It's right behind us! PENDERGAST This door's locked. Try shooting the hinges off.", "INT. PLANETARIUM - NIGHT D'Agosta turns to his group. D'AGOSTA Step back! D'Agosta, Frank and Kawakita aim their guns at the door and shoot repeatedly. The shots echo wildly. The sound is terrifyingly loud. The small glass window shatters. Then the men lean heavily on the door. It still wo n't budge. D'Agosta looks through the window. D'AGOSTA It's no use. We have to get out of here! -LRB- to Kawakita. -RRB- Give them your walkie talkie. Kawakita hands his walkie talkie through the window. Margo takes it. KAWAKITA Is Dr. Frock safe! MARGO Yes, he's fine. Greg. take care of yourself!", "INT. HALL OF THE NORTH AMERICAN MAMMALS - NIGHT Pendergast looks desperately at the blueprints. MARGO Is there another way around? PENDERGAST No. The planetarium is in the next cell. This is one of the fire doors. Pendergast returns to the window. PENDERGAST Vince? There's no way we can get to you with the fire doors down. There's an entrance to the sub - basement in the hall off the north side exit. D'AGOSTA The sub - basement? PENDERGAST I've been down there. It links up to the old sewer system. I can guide you out. D'Agosta turns to the others. D'AGOSTA How much ammo do we have to make a stand? KAWAKITA You're asking me? I do n't even know how to load this thing. FRANK Four rounds. There's a movement of air. and a ripe, fetid smell. D'AGOSTA Oh shit. D'Agosta pumps his shot gun. D'AGOSTA I smell it. It's here. PENDERGAST Go out the north exit! There's a hallway and a false wall by the Greek vases. Run! D'AGOSTA Everybody. Get behind me. The others move past. D'Agosta, Frank and Greg Kawakita hold the rear. The group runs to the side exit to the planetarium and in a moment, disappears.", "INT. HALL OF THE NORTH AMERICAN MAMMALS - NIGHT Pendergast remains at the window watching anxiously. From the south entrance to the planetarium, an ENORMOUS DARK SHAPE slinks into view! Pendergast steps back from the doorway, turns to Margo. PENDERGAST Hide quickly! MARGO What are you going to do? Pendergast checks his gun, totally calm. PENDERGAST Buy them some time. Margo turns and looks around at the looming dioramas. There's a plain door at their end of the hall. Pendergast faces the broken window. HIS POV. the beast is slinking away after D'Agosta and the others, headed to the north exit from the Planetarium! PENDERGAST calls out. PENDERGAST Hey you big tub of lard! Over here! THE BEAST PAUSES, turns. Pendergast puts his palms up at his ears, wiggles his fingers and makes a face through the window. PENDERGAST Come on, you smelly pile of refuse. Come get me. I dare you! A LOW surprised GROWL comes from the beast. It crouches as if to pounce. Pendergast makes more faces, sticks his tongue out. The beast watches in silence, its evil eyes fixed. ON MARGO. watching Pendergast. She ca n't leave him yet. MARGO What is it doing? PENDERGAST -LRB- loud. -RRB- It's scared of me. Suddenly there's a CRASH and the door BENDS like cardboard. TWO HUGE SETS OF CLAWS lash through! Margo screams as the claws pass inches from Pendergast's face. He leaps back, lifts his gun which looks like a pea shooter in the face of Mbwun. Two sets of claws curve around the bent edges of the door, then Mbwun simply LIFTS it out of the frame. This leaves Pendergast face to face with the foul, enormous monster! It regards him evenly, blinks once. Then the tongue slides out, licks its lips eagerly and. Pendergast FLICKS on his high powered FLASHLIGHT, shining it at close range right in the beast's eyes! Then carefully, with total calm he FIRES ONCE, TWICE. The beast howls more in anger than pain, REARS UP and swipes at Pendergast. Pendergast dives to one side and, the claws miss again by inches as the beast is temporarily blinded by the light. Now Pendergast spins and runs for all he's worth. Margo's been waiting, holding the door. PENDERGAST Drop the fibers! She leaves the crate behind as Pendergast dives inside with her. Margo shoves the door shut hard as Mbwun, still blinded, leaps into the hall. But now, suddenly, all is quiet. No sign of Margo and Pendergast. The beast moves forward, snuffling slowly. It starts for the door which hides Margo and Pendergast, but stops as it finds. THE CRATE! The beast moves to it, clearly surprised. It pokes at the crate carefully, inhales the fragrance and grunts. The monster seems to be struggling with itself! It sniffs the fibers, lifts a few out carefully, then SHOVES THE CRATE AWAY HARD. Then it rises on its haunches and squints into the dark. On all sides are glowing displays of stuffed buffalo, gazelle, wild horses, wolves, giant elk, sabre tooth tigers. Mbwun moves close to one after another. Suddenly we notice, in the back of one of the dioramas. Margo and Pendergast! They stand frozen, crouching behind mannequins of native Americans riding horses across the plains. The beast sniffs RIGHT AT THEIR WINDOW, then turns away. Confused, it heads back towards the Planetarium and slinks from the room. INSIDE THE DIORAMA. Pendergast and Margo exchange an astonished look. They whisper. PENDERGAST What happened? MARGO Its eyesight is worse than I thought. It could n't see us. And it could n't smell us through the glass. PENDERGAST It did n't want the fibers. What does that mean? MARGO I think. it means it's full. PENDERGAST Then it wo n't go after the others? MARGO No. It's still hunting, but not for the hormones. PENDERGAST For what? MARGO I think. for the pleasure of the kill.", "INT. HALLWAY - MUSEUM - NIGHT Greg, the Mayor, D'Agosta and the others are in a hallway lined with at least a dozen vases. A GREEK VASE has been shoved aside revealing the outlines of a door. Behind is a sloping dark corridor. The last of the thirty - five people pack in. Greg and D'Agosta cover the corridor. D'AGOSTA That's it, let's go! Grim - faced, D'Agosta follows Kawakita as they duck through the doorway, shutting it behind them. The impact rattles the wall and the Greek vase falls.", "INT. SUB-BASEMENT - NIGHT Kawakita and D'Agosta reach the bottom and turn to see the Mayor, his wife, Dr. Pound and their whole group standing in several feet of rushing water. Lauren is shivering. Her father has his arm around her tight. Behind them are two corridors, one forking left and the other straight. D'Agosta gets out the walkie talkie, clicks it on. D'AGOSTA -LRB- into walkie talkie. -RRB- Pendergast. We made it. You all right?", "INT. DIORAMA - NIGHT Pendergast has the plans open as he studies them. He speaks into the walkie talkie. Margo paces behind him, thinking hard. PENDERGAST We're fine. Take the left fork behind you. You'll be in a straight passage. When the hall forks again in fifty yards go right. Then radio back.", "INT. SUB-BASEMENT - NIGHT D'Agosta shuts off his walkie talkie. Everyone's staring at him. D'AGOSTA All right. Kawakita, cover the rear. KAWAKITA Oh shit. FRANK No, Lieutenant. He's not a good enough shot. I'll do it if you take care of my daughter. D'Agosta nods. Frank expertly reloads. D'Agosta holsters the walkie talkie and they plunge down the left hand passage. Kawakita takes charge of Lauren, who is confused and terrified. The tunnel has a slight downhill grade, and the water begins to move faster, tugging at everyone's legs. People slip and slide as they half make their way down the hill. D'Agosta calls behind them. D'AGOSTA Damn. It's getting deep. See anything? ON FRANK. back not far from the first fork. He looks towards the head of the tunnel, calls out. FRANK You'll be the first to know. Frank turns and plunges after the others. But then suddenly, he stops. ON D'AGOSTA. he reaches the second fork and takes a right. This tunnel is narrower and consequently the water is even deeper. Slimy plants hang down and slap at their faces as they push on. D'Agosta pulls out his walkie talkie. D'AGOSTA Pendergast? I made the right hand fork. We're already in about three feet of water. Where should we go? But before Pendergast can answer, D'Agosta hears the loud report of Frank's gun! Everyone freezes in the darkness. The walkie talkie cackles and D'Agosta shouts! D'AGOSTA Hello! FRANK -LRB- OS. -RRB- Sweet Jesus, help! They hear SPLASHING in the water. Lauren SCREAMS, tries to run back. Kawakita grabs her. There's more thrashing water and then silence. D'AGOSTA Frank! Are you all right! D'Agosta starts for Frank but the Mayor catches his arm and holds him. MAYOR It's too late! Everyone waits, staring into the darkness. Still no answer. Lauren SCREAMS AGAIN. LAUREN Dad! D'Agosta turns his flashlight on the water. It's running red! He spins to the Mayor, points down the tunnel. D'AGOSTA Run! People start to cry and whimper as the Mayor urges them on. He takes charge of Lauren. Only Greg Kawakita stays with D'Agosta. They stand shoulder to shoulder and completely alone. Thrashing in the water can be heard as the beast comes closer. There's a low, pleasurable growl! Both men lift their guns. D'AGOSTA On three. Kawakita nods. Behind them in the tunnel is total blackness. Ahead is equally dark. The noise of their friends gets ever fainter. The water now rushes half way up their thighs. Kawakita's teeth start to chatter. He bites them shut, steadies his gun. D'AGOSTA One. two. Silence as the water murmurs. D'Agosta holds the count. A long, agonizing moment. Kawakita takes his eyes away from the tunnel. KAWAKITA I think it's gone. Suddenly a HUGE CLAW snakes out of the water right in front of them and the beast roars up! It was beneath the surface, directly before them! The claw closes on D'Agosta and his shot gun goes off. D'Agosta screams as the beast lifts him towards its mouth! For one horrible moment, Kawakita is frozen. Then he leaps forward, shoves the barrel of his gun behind D'Agosta, right in the beast's open jaws! He pulls the trigger and the shotgun explodes, the recoil throwing him back, ass over tea cups in the water. With a roar of pain the monster drops D'Agosta and retreats in the dark. D'Agosta grabs Kawakita. D'AGOSTA I think you took its tonsils out! They haul ass down the tunnel, firing behind them as they go. Ahead is another fork. The group is waiting. When they see D'Agosta and Kawakita, a cheer goes up. MAYOR Which way! As he runs up, D'Agosta grabs for his walkie talkie. The holster IS EMPTY, the walkie talkie gone! Without missing a beat he registers what's happened, then covers it up with the next breath. He points to the right as if there's no doubt and says. D'AGOSTA This way! D'Agosta exchanges a look with Kawakita, who understands exactly what happened. As they plunge into the right tunnel, Greg mutters. KAWAKITA Holy shit.", "INT. HALL OF THE AFRICAN MAMMALS - NIGHT Pendergast and Margo come out of the door leading to the back entry to the dioramas. Pendergast holds the walkie talkie, desperate. PENDERGAST Vince? Can you hear me? Vince! Nothing but static comes in response. Margo paces in agitation. MARGO We have to try and draw it off! PENDERGAST How? MARGO The answer's right in front of us. She points to one of the dioramas. It shows a bird being stalked by a fox. MARGO That's a ptarmigan, feigning a broken wing. The bird pretends to be injured to draw the fox away from its nest! PENDERGAST -LRB- starts running. -RRB- It's deceptively simple. Like a Bruckner Symphony or a Matisse. Margo heads for the Planetarium, calling. MARGO Help! Please someone! Help! They disappear down the hall with the Greek vases, both calling with all they've got.", "EXT. MUSEUM ROOF - NIGHT There are increasing numbers of SWAT vehicles around. A HELICOPTER lands on the roof. The rescue effort continues to be slowed by rain pouring down. Ippolito is in the thick of the action. The S.W.A.T. commander, JENNINGS, comes over buckling an ammo belt over his fatigues. JENNINGS We're ready. We've got enough firepower to turn a herd of lions into a fine red mist. IPPOLITO Then do it. Jennings nods, goes off. As Ippolito watches the S.W.A.T. team break the glass skylights, gets ready to go in.", "INT. HALL OF THE REPTILES - NIGHT Jonathan crouches in the staircase at the end of the Hall of the Reptiles. Hobbes is still by his side. He keeps the gun pointed out into the room, his eyes scanning the dark. He whispers to Hobbes, as if to comfort both of them. JONATHAN It's okay, Hobbes. We'll be all right. Help has got to come eventually. We'll make it. We'll be fine. Suddenly he sees something. What appears to be a BODY lying on a glass case! Jonathan pumps his gun, approaches slowly. The man wears a tuxedo, is lying very still. As we get closer we see it's THE DRUNK Kawakita ran into in the stairwell so long ago! He suddenly HICCUPS. Jonathan starts. Now the man gently snores. Jonathan moves to him, shakes the drunk's shoulder. JONATHAN Hey! Wake up! The man snorts, opens his eyes and frowns. DRUNK Who the hell are you? JONATHAN You first. Jonathan helps the drunk off the glass case. The man's a little unsteady as he tugs at his tux. DRUNK I got lost tryin' to find the bathroom. I was walkin' in circles. I lay down for a nap. What's going on? JONATHAN You would n't believe me if I told you. Hobbes has started to wag his tail and tug at the leash to draw Jonathan's attention. JONATHAN What is it, boy? From above comes the beating of a distant HELICOPTER and then the sound of breaking glass. Hobbes pulls Jonathan back to the staircase. Jonathan grins, follows behind with the drunk. DRUNK Where we going? JONATHAN I think we're going home.", "INT. HALL OF THE DINOSAURS - NIGHT Huge skeletons of Tyrannosaurus, Stegosaurus and Brontosaurus loom in the darkness. Rain is pouring in. Jonathan, Hobbes and the drunk enter, looks up to the sky lights. A FLASH OF LIGHTING hits, illuminating the dinosaurs and a S.W.A.T. team which is descending on a series of ropes. It's a sixty foot drop. Jonathan steps forward. JONATHAN Hello! We're over here! They run across the long hall and wait as the the men descend. The first one down is Jennings. JENNINGS Are you hurt? JONATHAN We're fine. I do n't know about the people downstairs. In the Hall of the Heavens. The basement. you'll need help. There's a monster down there. A sling suspended on ropes is lowered down. JENNINGS The rescue workers will lift you out one at a time. Jennings signals to a group of five men, heavily armed and in flack jackets. They prepare to get the drunk out.", "INT. HALL WITH GREEK VASES - NIGHT Pendergast and Margo are at the top of the long, narrow shaft. Pendergast's flashlight sends a circle of light onto a sheet of black, oily water below. Both of them continue calling, trying to draw off the monster. MARGO Help someone! PENDERGAST Oh God! Help! They suddenly hear the sound of splashing. An updraft rustles their clothes. Margo sniffs the air, turns to Pendergast. MARGO You smell that? PENDERGAST It's coming. Run.", "INT. SUB-BASEMENT - NIGHT The group has reached another intersection of tunnels. The left fork turns back uphill. D'Agosta indicates this tunnel. D'AGOSTA At least we'll be dry. They all press forward in the low vaulted darkness. As they move steadily upwards the water recedes. Kawakita's flashlight flickers and he bangs it. It comes on again. KAWAKITA I believe in you a hundred percent, Vince, but that's the second time we've been at that intersection. D'AGOSTA Not so loud. D'Agosta shines his light forward and they see that the shaft ends in a large round PIPE. KAWAKITA What's that? D'AGOSTA All right everybody, hold up! Kawakita and D'Agosta move past the shivering people who are strung out along the sides of the tunnel. D'Agosta touches each person as he passes. D'AGOSTA We do n't know what's in there. Let me go first.", "INT. PIPE - NIGHT The Mayor follows behind with the group as Kawakita and D'Agosta lead the way. The pipe is dry and rusted. They move forward with stealth. In twenty feet the pipe ends abruptly in darkness. D'Agosta steps out first.", "INT. CAVERN - NIGHT The group huddles at the mouth of the pipe, confused, as D'Agosta pans his flashlight around the huge space. The walls are carved out of dirt and rounded like a cave. From the ceiling hang huge cobwebs. There's a large pile of sticks in one corner fashioned rather like a bed. On a mound of dirt beside this bed rests a battered duffel bag. Greg moves to it, shines his light on the side. A name is written in marker. D'AGOSTA What does it say? KAWAKITA -LRB- looks up, shocked. -RRB- Dr. John Whittlesley. D'AGOSTA What's that doing here? KAWAKITA I do n't know. I thought Dr. Whittlesley died in South America. MAYOR -LRB- interrupts. -RRB- Look. There's a ladder at the end. I think it goes up to the street! They move forward into the darkness eagerly, towards the ladder which leads up to a manhole. But as they pass the bed of twigs, something loud CRUNCHES underfoot. KAWAKITA What is that? D'Agosta shines his light down and everyone freezes. Then one woman SCREAMS! The wide dirt floor around them is carpeted in clean white BONES! The HUMMING noise is louder and we see its source. Atop the bones is the body of CUTHBERT! It's covered with BLACK DERMESTID BEETLES. They're stripping the skeleton clean, devouring the flesh! The group panics and breaks for the ladder. Kawakita and D'Agosta once more guard the rear. KAWAKITA Dear God. Where are we, Lieutenant? D'AGOSTA I'd say we're in its home.", "INT. HALL OF THE NORTHWEST COAST INDIANS - NIGHT Pendergast and Margo run down the long dark room, passing an enormous hollowed - out canoe. As they exit the far end, the dark shape of Mbwun emerges. It leaps forward, closing in fast.", "INT. HALL OF THE ASIAN PEOPLES - NIGHT Margo and Pendergast enter a series of maze - like room with hidden corners, nooks and crannies with cases full of esoteric Buddhist and Japanese Art. They're running through the twists and turns as fast as they can. PENDERGAST We're not going to make the storage room! MARGO Listen to me, Pendergast. Mbwun's DNA is part homo sapien. In primates, the eye is a direct path to the brain! If you get a clean shot, there's only one place you can kill it. Shoot it in the eye! AT THIS THEY ROUND A CORNER AND MBWUN LEAPS OUT! It circled ahead and was waiting in front of them! The animal swipes at Margo and Pendergast. The force of the monster's blow sends Margo reeling and slams Pendergast into the wall. He falls, crumples and drops his gun! The case beside him SHATTERS spewing relics, as Mbwun pushes past. Pendergast groans and gets to his knees with difficulty. MARGO is frantically crawling away in the dark! The beast makes a low sound of pleasure and reaches out one claw, easily pins her down. Pendergast looks frantically for any kind of weapon! ON MARGO now PINNED BENEATH the heaving body of the monster! Powerless, she looks up into the horrible face of death as Mbwun raises an enormous claw! Pendergast, desperate, cries out - PENDERGAST Please, no! Do n't hurt Margo! Oddly enough, the beast pauses for once. Talking to the damn thing is the one tactic no one has tried! The claw halts in mid - air. The beast blinks once and looks from Pendergast to Margo. Margo sees a flash of something unexpectedly HUMANin its eyes! In astonishment, she whispers. MARGO My God. You understand. As they stare, amazed, imperceptibly, the beast appears to narrow its eyes in response! Margo controls her voice, keeps it even. MARGO Please let me go. We wo n't hurt you. A strange noise comes out of the monster. A low, confused growl. He does n't loosen his grip on Margo, but he leans down to look at her closer with one green, unblinking eye. She struggles not to turn away in revulsion. His enormous jaws are right near her throat. Everything is very still. And then. A BARRAGE OF FIRE breaks out! The S.W.A.T. team is in the doorway, laying down everything they've got. The creature ROARS as if betrayed, leaves Margo and LEAPS UP. It barrels down on the S.W.A.T. team, picks up Jennings and SPIKES HIM TO THE GROUND. Jennings hits the floor with his neck at a crazy angle. It snaps like a twig. The other men drop back. Mbwun follows, tearing through the men, cutting a deathly swath! Pendergast moves to help the S.W.A.T. team. Margo struggles to her feet and her hand touches the wall. Beside her is a FIRE HOSE in a cabinet! In a split second Margo hauls it out, throws a switch and gets a BLAST OF WATER. She turns it on the beast as it grabs for Pendergast. The force of the water is enormous. It pushes the monster out the end of the hall. Pendergast runs towards her, takes the hose and holds it. PENDERGAST Run! She takes off blindly in the maze - like room. From somewhere behind her she hears a horrible HOWL. ON MARGO. as she twists and turns through the rows of display cases, tearing blindly in the dark. Ahead is a door. She dives through it and finds she's in.", "INT. MEN'S ROOM - MUSEUM - NIGHT A row of mirrors and urinals line the wall. It's a huge room, designed to handle crowds of visitors. Margo ducks into one of the stalls as MBWUN crashes in. Margo looks through a crack in the door to see. THE ANIMAL AT FULL STOP. IT'S STARING AT ITSELF IN THE ROW OF MIRRORS! The sight appalls it and the beast lets out a hideous sound! The claws lash out, breaking every mirror in the place, littering the floor with glass! Then the beast turns and backs up, groaning, as if cornered. Margo sees now that one limb is dragging, leaving a trail of blood. The mouth, too, appears to be bleeding. The S.W.A.T. team's bullets had an affect. Margo presses back in the stall, bracing as the beast gets closer. It's just outside. It sniffs the air once and suddenly turns, rears up, furious and crashes through the bathroom door. Margo screams and the thing grabs her! It holds Margo up before it and roars. It closes its massive claws around her as if she is somehow responsible for everything. The claws tighten! She struggles and fights to no purpose. but then the beast pauses. it's seen something! THE NECKLACE WITH TWO ARROWS AROUND HER NECK! It stops and its grip loosens! A pained look flashes across its bestial face. And in that split moment Margo looks down. A NECKLACE OF SILVER gleams around the beast's throat too! The necklace is the twin to her own! ON MARGO. Can it be possible? She stares at the thing. MARGO John's necklace! You killed him! Incredibly the beast shakes its head. A noise comes from it. a sad noise, like a groan. And now Margo gets it! She can hardly believe it. Her eyes widen in astonishment. She whispers. MARGO Oh Jesus. John? The name is a knife through the monster's heart! MARGO No. It's not possible! The last piece of the puzzle falls. The monster is John Whittlesley! Margo, still desperately frightened, tries to keep control. MARGO John? If it is you. I can help. The monster shakes its head no and releases her. As she watches he moves away, quickly limps out the door.", "INT. HALL OF THE ASIAN PEOPLES - NIGHT Mbwun now drags himself across the grey carpet, headed for the stairs. In the darkness of the hall of Asian Peoples, Pendergast is waiting. He lifts one of the S.W.A.T. team rifles which he holds in his hands. He aims, is about to fire, but then Margo comes up behind him. MARGO No! Do n't kill him! Pendergast, you were right. It's John! PENDERGAST What? MARGO That thing is John Whittlesley. I should have seen it before! The fibers are infected with a virus. You eat them, and the virus alters your DNA! He became addicted to them in South America, followed the plants back to the states. He probably entered the country as a man. It would have taken several months for the change to take place. That's how he got from the boat to the museum! Pendergast looks over and sees the monster. His eyes show disbelief. Mbwun looks back at both of them briefly, then it disappears up the stairs. PENDERGAST I do n't believe it. MARGO You have to! Listen! All viruses pass on their own DNA. Instruct the cells of the host to make more viruses! This one was different. It inserted a whole array of genes into John. Reptile genes, sixty five million years old. Those genes remade him! It's not his fault! PENDERGAST Whatever that thing is, we have to kill it! Margo tries to stop him, but he shrugs her off.", "EXT. MUSEUM ROOF - NIGHT A helicopter hovers outside pouring a circle of light down on the roof. Ippolito watches as the drunk is pulled up through the hall in a sling. Waters approaches, holding the walkie talkie. WATERS We ca n't raise the S.W.A.T. team. No one's answering! What do you want to do? Ippolito eyes are fixed on the room below them. IPPOLITO Holy shit. Pull him up. Lightning throws horrible shadows of the hulking dinosaur skeletons all around as MBWUN LIMPS INTO THE HALL! The men on the roof stare down astonished. Their mouths hang open at the sight! IPPOLITO Get more guns! Now! The men get the drunk up and abandon the sling, leaving Jonathan trapped below.", "INT. HALL OF THE DINOSAURS - NIGHT Jonathan and Hobbes take cover behind one of the dinosaurs and hide. Mbwun sees Jonathan, lifts both claws, SWINGS at the skeleton, sending it crashing down! Jonathan SCREAMS, Hobbes is caught and falls. He scrambles into a corner, whimpering, as Pendergast and Margo appear in the door. Fifteen more S.W.A.T. team members with rifles now line the hole in the roof. They all point their guns at Mbwun. IPPOLITO Get back! We're going to shoot! Now Margo runs forward. MARGO No. Wait! Let me talk to him first! IPPOLITO -LRB- screaming. -RRB- Kill that thing! Kill it now! MARGO No! MBWUN. turns and sees Margo. She speaks desperately. MARGO John. you can give up now! Just lie down where you are! Mbwun seems to consider for a moment, but then its eyes gleam and it ROARS. With renewed vigor it leaps to the wall and starts to WALK UP IT like a GECKO, ON ALL FOURS! ON THE ROOF. Some of the S.W.A.T. team fall back in terror! Now that the monster is on the wall it's out of range of their fire! WATERS Holy shit it's coming this way! IPPOLITO It's headed for the roof. Run! Ippolito turns and takes off once more in sheer terror. Astonished, Waters tries to regain control. WATERS Get back here, you asshole! We ca n't let it get out! -LRB- to the S.W.A.T. team. -RRB- Surround the opening and kill it! But the men are terrified, retreating like Ippolito. Waters shouts. WATERS Back, everybody! That's an order! But the team is in chaos and losing precious time.", "INT. HALL OF THE DINOSAURS - NIGHT The MONSTER is now half way up the wall. Margo is distraught, crying. Her cool demeanor is cracked. Pendergast is with her. She shakes her head. MARGO Just like John. He wo n't listen. PENDERGAST I have to shoot. MARGO Do it, quickly. Please. Aim for the eye. Pendergast raises a HIGH POWERED RIFLE with a laser sight. He aims the red laser beam directly at Mbwun's left eye. PENDERGAST He has to look here or I wo n't get a clear shot. Call him, Margo. MARGO I ca n't! PENDERGAST You have to. Do it now! Margo takes a moment, her eyes streaming. She has no choice, she calls out. MARGO John! John, look at me! The beast looks down, sees Pendergast's rifle. There's a long, awful, moment. Suddenly it emits a sound like a wail. ON JONATHAN. staring, stunned. PENDERGAST. steady. MARGO. She's crying as she raises her arm as if to say good - bye. And the gun EXPLODES. ON MBWUN. its head shoots back in pain, and it falls. sixty feet straight down to the ground. Silence. Thunder rolls. It's over. Pendergast turns to Margo and quietly folds her in his arms.", "EXT. MUSEUM - NIGHT There are cops and journalists, ambulances, and medivacs all over the place. Greg Kawakita, wet and bedraggled as a rat, runs up from Columbus Ave. Behind him the Mayor and D'Agosta help the rest of the company to the ambulances. Waters is on the steps of the museum, helping to organize the rescue efforts as Kawakita runs up to Pendergast. KAWAKITA Margo Green. Have you seen her? PENDERGAST She's over here. Greg turns to see Margo come out of the Rotunda with Frock, Jonathan and Hobbes. Her face is devastated. He moves to her side. She reacts as she sees him, and teacher and pupil hug. D'AGOSTA is lost in the swirl of people. And he likes it like that. He rests against a large stone lion, pulls out a cheap cigar in cellophane, unwraps it carefully and tries to light it with a wet match. He's struggling hopelessly. Finally he tosses the useless pack of matches, sighs. But then a flame lowers right before his face. He looks up to see Pendergast holding a silver engraved lighter. D'Agosta smiles, takes a nice long hit. PENDERGAST Nice to see you, Lieutenant. D'AGOSTA The sub - basement, huh? Great idea. We go to a wide shot of the museum as we slowly pull back.", "EXT. NATURAL HISTORY MUSEUM - DAY - SUPER TITLE: SEVERAL MONTHS LATER Christmas decorations are up. A light snow is falling. There is a very long line.", "INT. NATURAL HISTORY MUSEUM - GIFT SHOP - DAY All the registers are doing a booming business. People are buying Mbwun posters, t - shirts and hats.", "INT. SUPERSTITION EXHIBIT - DAY School tours, old ladies, parents and children, foreign tourists with cameras snake through the displays. In the room with the Relic, there's a tremendous crowd.", "INT. MARGO'S LABORATORY - DAY Margo closes her computer, looks out a window at the falling snow. She turns and walks into the back office. Kawakita is working there alone. His fly - fishing rod stands in the corner, untouched. Margo goes to it, smiles softly. MARGO No time for fishing anymore? Greg looks up from his work and smiles. KAWAKITA Got to finish this thesis sometime. MARGO How about lunch? KAWAKITA Not today. Besides, I think the director of the museum is expecting you. MARGO Okay. Margo exits. Greg returns to his work.", "INT. HALLWAYS - MUSEUM - DAY Margo heads down the hall to the Director's office. She walks through the new double oak doors to find DR. FROCK seated at Cuthbert's old desk. MARGO Dr. Frock? FROCK Look who's here, Margo. PENDERGAST and D'AGOSTA rise out of two high - backed chairs. Margo smiles for the first time, takes Pendergast's hands. MARGO I'm so glad to see you. What's the occasion? PENDERGAST I'm in town on a case. Dropped by to see Vince and we thought we'd see the new display.", "INT. HALL OF THE SOUTH AMERICAN MAMMALS - DAY Margo, Pendergast, and D'Agosta follow Frock past the familiar dioramas. PENDERGAST Dr. Frock, I was wondering. What happened to the rest of Whittlesley's plants? FROCK They were sent to the Center For Disease Control in Atlanta. D'AGOSTA Should n't a drug that powerful be destroyed? FROCK The virus itself might have positive applications. They'll keep the plants in secure lock up while the studies are made. -LRB- beat. -RRB- Greg is n't joining us? MARGO He's changed. He's always working on his thesis. He comes in early, stays late. I tried to get him to join us, but he never takes a break. They pause on a NEW DIORAMA. It's huge, filling one entire end of the hall. In the center is a life - sized representation of MBWUN standing on the tepui amid the plants. Behind is a painting of John Whittlesley as he once was. He wears the necklace with the two arrows, of silver and gold. As Margo looks, she touches her own. Pendergast turns to her, sympathy in his eyes. PENDERGAST We did the right thing, Margo. Margo smiles warmly. MARGO Yes. I know.", "INT. MARGO'S LABS - DAY Greg Kawakita wears gloves, high powered glasses, works in solitude in the lab. Suddenly he stands up, throws off the glasses, then he sits down again. He seems to be struggling with himself. He glances over his shoulder to make sure he's alone. Quickly he moves to a locked drawer. He opens it with a key from his pocket and takes out a small envelope, looks inside. INSERT. the envelope is full of the PLANT FIBERS! Greg has managed to keep his own cache! Moving quickly, with jerky motions, he lays one fiber down on a slide with a shaking hand. With an exacto knife, he cuts off a tiny sliver, pops it into his mouth. He closes his eyes in ecstasy and savors the taste. Then he cuts one more infinitesimal sliver, leaves it on the slide. He takes a deep breath, returns the envelope to the drawer. He turns the key carefully and we GO CLOSE ON HIS HAND. On the back is A ROW OF SCALES." ]

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[ "INT. OLD HOUSE - LIVING ROOM - NIGHT We see a LITTLE GIRL dancing around in a grainy super 8 home movie. A LITTLE BOY wearing a monster MASK enters the frame. He struggles to lift a double barrel shotgun. He points it at the girl and pretends to SHOOT. GIRL -LRB- V.O. -RRB- -LRB- whispering slowly. -RRB- Once I had a cat, he was the sweetest little guy. Then one day he got sick and died. My heart was broken. My whole body hurt. She continues dancing. The little boy imitates her. GIRL -LRB- V.O. -RRB- After that, I saw things differently, everything could be summed up with three simple words. fuck the world. The camera swings over to some ugly, toothless relations watching the show. They laugh.", "EXT. SPAULDING'S - NIGHT We open on a dark, lonely stretch of two lane blacktop. Off to the side of the road we see a rundown gas station. RADIO ANNOUNCER -LRB- V.O. -RRB- Hey, welcome back to 93.5 WJRC's Halloween monster weekend. I'm Jimmy Ray and I'll be bringing you the oldies, the goldies and sometimes the moldies. The good, the bad and the uglies straight from the WJRC vaults. A weathered wooden sign proclaims CAPTAIN SPAULDING'S WORLD OF MONSTERS AND MADMEN, sits atop the building. A smaller sign below reads FRIED CHICKEN AND GASOLINE. RADIO ANNOUNCER -LRB- V.O. -RRB- Hey, kids still trying to decide on the right costume? Well why not head on down to Randall's Penny Save located on Kimball Rd. just off route 1 in Mackin County. Choose from a wide array of ghosts and ghouls, jeepers and creepers. -LRB- scary sound effects. -RRB-. everything you need for your Halloween needs. SHERIFF HUSTON, a tall southern good old boy, leans against his dusty cruiser smoking a cigarette, pumping gas into his tank.", "INT. CAPT. SPAULDING'S - NIGHT Inside is a poorman's Ripley's Believe It or Not. Bizarre props and treasures of killers and monsters cover the dirty walls. Wax figures of JACK THE RIPPER stand guard before oil paintings by JOHN WAYNE GACY. RADIO ANNOUNCER -LRB- V.O. -RRB- Alright let's get back to our monster music marathon with this classic called The Teddy Bear's Picnic. Perched on a stool behind the counter sits CAPTAIN SPAULDING, a crusty looking old man in a filthy clown suit and smeared make - up. The word LOVE is tattooed across his right knuckles and HATE is tattooed across the left. He is reading the newspaper, crunching on crackers from a paper bag and halfheartedly listening to a small, nerdy man wearing coke bottle glasses named STUCKY. Stucky thumbs through a stack of autographed 8x10 photographs. STUCKY -LRB- speaking through voicebox in his throat. -RRB- I. I got back a stack today. Some nice shots. -LRB- holds up a picture of June Wilkinson. -RRB- See, a good topless June Wilkinson. unfortunately she personalized it. -LRB- looking at the photo. -RRB- to Stucky, love June. CAPT. SPAULDING Hmmmmm. STUCKY Shit, this ai n't worth nothing now that my name gotten all over it. I was a fixin' on trading it to Jackie Cobb. CAPT. SPAULDING The retard over at Molly's fruit stand. STUCKY Yeah, he's all hot on her after he found some of his dad's old nudie books hidden in the basement. He keeps'em taped inside his school workbook. Spaulding brushes cracker crumbs off his paper and continues reading. CAPT. SPAULDING Fascinating. STUCKY That kid is one horny retard. CAPT. SPAULDING Christ, ai n't they all. All them retards wan na do is fuck and eat. STUCKY Well, yeah. I think that if you knew him. I mean if you'd understand his urges, shit the guy's like forty or something. CAPT. SPAULDING Worse than a fucking rabid baboon. STUCKY Yeah, I guess, you know next to wacking his weasel his other favorite thing is twisting sharpened pencils in the corner of his eyes. CAPT. SPAULDING What? STUCKY Yeah, does n't hurt himself, just spins it around next to his eyeball. CAPT. SPAULDING I'm sure that ai n't the only place he's sticking those pencils. STUCKY Naw, he do n't do anything else with'em, but he did get caught once with a Planet of the Apes doll hanging out his asshole. CAPT. SPAULDING -LRB- laughing. -RRB- Goddamn. STUCKY Had to take him to the hospital. Kid had Dr. Zaius stuck half way up his butt, could n't get it out. CAPT. SPAULDING I always loved that mute broad that Chuck Heston was shacking up with. STUCKY Nova, yeah she looked pretty sweet. CAPT. SPAULDING Yeah, now there's the perfect woman. STUCKY Can I get some stamps off ya? -LRB- slapping down his money. -RRB- Did you fix the toilet yet? Opens a drawer and tears off five stamps. CAPT. SPAULDING Yes, I did. so do n't you go stuffin' any goddamn paper towels down that hole. I just snaked the shit out of that thing. Spaulding SLIDES the KEY attached to a cow skull across the counter. Stucky grabs it. Spaulding hangs on. CAPT. SPAULDING Ya hear me? You bust that crapper and I'll beat your ass. STUCKY I hear ya. He lets go of the key.", "EXT. CAPT. SPAULDING'S - NIGHT From a STRANGER'S POV we watch through the window, Stucky EXIT for the restroom. Sheriff Huston finishes pumping his gas, gets in his cruiser and drives off. KARL -LRB- O.S. -RRB- All clear. Let's go shopping. RICH -LRB- O.S. -RRB- Right. From this POV we RACE across the highway towards the front door of the MUSEUM. SLAM! We BURST through the door.", "INT. SPAULDING'S - SAME The moment of impact. BOOM. The door SMASHES open. Spaulding's head JERKS up to see : a masked gunman, KARL, wearing a LEATHER S+M MASK. Behind him stands a second gunman, RICH, wearing a rubber CAVEMAN MASK. CAPT. SPAULDING Mary fucking Moses. Get the fuck out of here. KARL Hold it, clowney. Keep your paws where I can see'em. RICH Yeah, do n't move or I'll blast a hole the size of a Kansas City melon through your ugly - ass Bozo face. Spaulding obeys and raises his hands. KARL Go get that other asshole out of the shitter and drag his ass back in here. RICH Right. Rich exits. CAPT. SPAULDING Miserable little cunts with guns. I ought to jump right over this counter and bash your fucking balls in. Killer Karl steps up and puts his gun against Spaulding's face. KARL Alright Tippy, hand over the cash box and I might leave your brains inside your skull. Spaulding smiles wide, his teeth are yellow and rotted. CLOSE UP Spaulding's foot kicks a red switch, triggering a silent alarm. CAPT. SPAULDING That's what you bitches need. A reality check courtesy of my boot in your ass. That'll be a fucking cash box you can cry to mamma about.", "INT. SPAULDING'S - BACKROOM - NIGHT A silent RED LIGHT FLASHES. In the dim glow, we see RAVELLI, a large hunched figure, sitting on the edge of a bed. The figure is heavily bandaged. Ravelli reacts to the flashing light, he RISES and puts a huge mask over his head. He EXITS the room.", "INT. BATHROOM STALL - NIGHT Stucky sits on the toilet pasting stamps on large yellow envelopes. Killer Rich KICKS OPEN the stall, GRABS Stucky by the neck and PULLS him out. RICH Come on, fatboy!", "EXT. CAPT. SPAULDING'S - NIGHT We move around the outside of the building watching the scene inside unfold. HEAVY BREATHING is heard. Rich DRAGS Stucky into the main room.", "INT. SPAULDING'S - NIGHT Karl grows increasingly HOSTILE, knocks a candy display over, raises his gun over his head and fires into the ceiling. KARL -LRB- screaming. -RRB- That's it. I'm gon na count to ten and you're gon na hand over the cash or I'm gon na splatter your grease paint mug across the stateline. one. CAPT. SPAULDING Fuck your mother. KARL Two. CAPT. SPAULDING Fuck your sister. RICH Come on, man. Just shoot him. STUCKY -LRB- recognizing Rich's voice. -RRB- Hey, I know you. We were in high school together. Wood shop, right? Richard Wick. right? He looks nervously at Stucky. RICH Shut up, shut up, shut up! KARL Quiet down. three. CAPT. SPAULDING Fuck your grandmother. STUCKY Yeah, I remember Mr. Alacard the shop teacher use ` ta call you Little Dick Wick. Hey, was n't there a song we made up to go with that? RICH -LRB- temper rising. -RRB- Shut up! STUCKY -LRB- singing. -RRB- Little Dick Wick, play with his prick Do n't his smell, just make you sick.", "EXT. CAPT. SPAULDING'S - NIGHT From Ravelli's POV we watch through the window, as everybody inside starts SHOUTING at each other. Suddenly, Rich SHOOTS Stucky. Stucky FALLS BACKWARDS against the wall, screaming in pain. We move QUICKLY towards the entrance.", "INT. CAPT. SPAULDING'S - NIGHT Suddenly. CRASH! Ravelli SMASHES through the front door knocking Karl to the ground. In the light we see that Ravelli is wearing an OVERSIZED CLOWN HEAD. In his hand is a sledgehammer. Rich TURNS toward the COMMOTION. The Captain quickly WHIPS OUT a GUN and FIRES. Rich falls dead. Ravelli lunges at Karl, smashing him over the head with the hammer. Ravelli's clown head comes loose and falls to the floor. We now see that Ravelli is a bald pitbull of a man with badly scarred skin that is painted white and red. Karl hits the floor and begins CONVULSING violently. Spaulding STEPS DOWN from behind the counter, puts his foot on Karl's throat and points his pistol at Karl's head. CAPT. SPAULDING And most of all. fuck you! BOOM! Spaulding SHOOTS Karl in the head. The screen EXPLODES RED, then TURNS BLACK. CAPT. SPAULDING -LRB- V.O. -RRB- God damn it, that motherfucker got blood all over my best clown suit. CREDITS ROLL Strange paintings of demons, monsters and bizarre creatures fade up and move across the screen.", "EXT. COUNTRY ROAD - NIGHT We see a BILLBOARD painted on the side of an ABANDONED TRUCK. The sign reads GOD IS DEAD. We turn to face the road as a car drives by. JERRY Alright then, out of all of Charlie's chicks who do you think is the hottest?", "INT. CAR - FRONT SEAT - NIGHT Fast food wrappers and road maps clutter the car's dashboard, a swinging monkey head dangles from the rear - view mirror. Behind the wheel, the driver, BILL HUDLEY, 29, downs the last sip of coffee before crumpling the paper cup and placing it among the other trash before him. BILL I guess if I had to choose I'd say. mmmmmm. Sandra Good. She seemed like a nice girl, I mean in a psycho kind of way. Beside him rides, JERRY GILMORE, 30, slumped down in his seat, reading a magazine with a flashlight, feet hanging out the window. JERRY Really? Huh, I thought for sure you'd say Lynette Fromme. She's got that snooty vibe I know you dig. BILL Sqeaky! No way, she ai n't that hot. JERRY She's pretty cute. BILL Yeah but, she reminds me of this chick that I remember from fourth grade. called a. shit, what did we call her? -LRB- thinks for second. -RRB- Oh yeah, Patty Pee - pee Pants. when ever she got called on by Miss Chumski, this chick would piss in her pants and start bawling. JERRY -LRB- laughing. -RRB- There always one kid with no bodily controls. We had this dude, Jeff Baxter, he was a puker. The fucker would just sit there puke all over himself. BILL Better than pissing. anyway so, what's your choice? JERRY If we're talking cute. like regular cute, I'd say Leslie Van Houton, but cute ai n't hot. BILL Yeah, no shit. JERRY As far a hot. goes I got ta go with. Ruth Ann Moorehouse. BILL Oh yeah, I forgot about her. She was pretty hot. JERRY Fuck yeah, she is. I'd join a cult to get some of that. and the best part is she did n't try to kill the President or nothing, so that baggage ai n't hanging around. BILL I thought she tried to murder a witness for the prosecution. JERRY I'll let it slide, she was only seventeen. BILL Dude, talk about baggage, that ai n't no carry - on shit, that's some heavy duty Samsonite shit. JERRY Yeah, I guess. hot chicks are always nuts. BILL Hot has got nothing to do with it.", "EXT. COUNTRY ROAD - NIGHT A LONE FIGURE in a cheap skull mask and white robe stands hidden behind a billboard off to the side of the road. Bill's car drives past. BILL -LRB- yawning. -RRB- Hold on, I've heard this before. but I ca n't remember the end. JERRY So, the guy goes to Hell and the devil says, `` do you smoke?'' The guy say, `` yeah''. the devil say, `` great cause Tuesday is cigar night, sweetest Cuban cigars you ever had.'' BILL Shit, we really need to find some gas. JERRY -LRB- not listening. -RRB- Then the devil asks, `` do you drink?'' Guy says, `` yeah''. devil say, `` wonderful, Wednesday is free drinks night, best booze you ever had. all made from the finest stuff.'' BILL Yeah. JERRY Then the devil says, `` are you gay?'' Guy says, `` fuck no''. Devil says, `` Well then, I guess you're gon na hate Thursdays.'' BILL Oh yeah, I remember now. JERRY Yeah, no shit I just told ya. -LRB- looking at magazine. -RRB- Hey, you think this place called Alien Ed's UFO Welcoming Center is still around? It says, `` Where the Fact is separated from the Fantasy.'' BILL I dunno. we'll ask around as we get closer. Man, I really do n't want to run out of gas out here in the middle of Petticoat Junction, man. JERRY -LRB- sitting up. -RRB- Do n't panic yourself, way too much caffeine guy. I see a sign. -LRB- reading the sign. -RRB- Captain Spaulding's Museum of Madmen and Monsters. cool. Also. fried chicken and. gasoline. next exit. BILL Perfect. JERRY I hope this place is cool. We could use something interesting to liven up chapter 12. The car drives past. We turn and hold on the billboard. We see the happy smiling face of a young Captain Spaulding.", "EXT. CAPTAIN SPAULDING'S - NIGHT The car pulls up to one of the gas pumps. Bill and Jerry get out. Inside we see Spaulding, now in army pants and a hunting jacket, mopping the floor. BILL I'll pump the gas. Go inside and see if it's worth thinking about. JERRY -LRB- salutes. -RRB- OK, Boss. Jerry walks inside and immediately comes back out. JERRY Holy crap. You got ta see this place. It's awesome. BILL How awesome? JERRY Really fucking awesome. BILL Wake up the chicks and bust out the camera awesome? JERRY Hell yeah. Jerry sticks his head back inside the car. JERRY Wakey, wakey, eggs and bakey.", "INT. CAR - BACK SEAT - NIGHT A dark haired girl, DENISE WILLIS, 27, sleeps curled up under a blanket. JERRY Come on, babe. Me and Bill found a kick ass place. She opens her eyes. DENISE Huh? JERRY Grab Mary and come inside. Denise shakes a lump of jackets and sweaters lying next to her. She removes a sweater from the top of the pile to REVEAL the face of MARY KNOWLES, 29. DENISE Come on sleeping beauty, time to go to work. MARY -LRB- half asleep. -RRB- Sleeping. DENISE Rise and shine. MARY -LRB- groggy. -RRB- No please, let me sit this one out. DENISE -LRB- removing the blanket. -RRB- Let's go. You're the one who wanted to be a photographer. MARY I resign. DENISE Too late. You're in for life, let's move it out Private Shutterbug. MARY -LRB- opening her eyes. -RRB- Christ, I hope this is n't more crappy folk art. It's so quaint. it's so primal. it's so crap. DENISE Aw, it ai n't crap. it's. cute. -LRB- sarcastic. -RRB-. and really who are we to judge the artistic merit of the tin - can Mona Lisa? MARY Aw, shit. -LRB- exhales deeply. -RRB- I got ta pee anyway. INTERLUDE Grainy super 8 footage shows us an OLD MAN standing in front of a small shack. His name is Lewis Dover. The shack is painted white and covered with SIMPLISTIC RELIGIOUS WRITINGS. LEWIS I ai n't no rich man, but I see the truth. You do not have to go to Hell. You are in Hell. This is Hell. All American Hell. -LRB- holds up a gun. -RRB-. true heaven in my hands. I'm gon na blow Satan back through the door to Hell. Surrounding the shack are strange sculptures of various half - human/half - animal creations.", "INT. SPAULDING'S - NIGHT Spaulding swabs up the last remains of blood from the floor, he drops the mop into a bucket filled with water and blood. Bill pays no attention, he is distracted by a strange object in a glass case over the counter. In the case is a shriveled up looking half human and half fish figure. It is the size of a small child. A banner above reads : AQUALINA - THE MERMAID. BILL How long have you been running this place? CAPT. SPAULDING How long is a piece of string? Too God damn long, that's how long. Spaulding slides the mop and bucket behind the counter. BILL No, really. CAPT. SPAULDING Shit, I do n't remember exactly. I took over for my Pa just after the Duke nabbed the Oscar. BILL The Duke? CAPT. SPAULDING Yeah, my Pa was n't right in the head after that. BILL You mean John Wayne? CAPT. SPAULDING Hell, boy there some other Duke you know about? -LRB- rolls up his sleeve to reveal a John Wayne tattoo. -RRB- A great American. BILL Yeah, I was never that big of a western fan. I like science fiction. CAPT. SPAULDING I figured that much. Why the fuck you asking so many jackass questions for? BILL You see me and my friends are writing a book on offbeat roadside attractions. You know all the crazy shit you see when you drive cross country. CAPT. SPAULDING I do n't drive cross country. BILL But if you did. CAPT. SPAULDING I do n't. BILL But suppose for a second you did. CAPT. SPAULDING -LRB- fake hick accent. -RRB- Y' all find us country people real funny like do n't ya. well, God damn pack up the mule and sling me some grits, I ` ze a got ta get me some schooling. BILL No, no I think it's really interesting. CAPT. SPAULDING Well fuck me Side Sally, who want to read about all that horse shit anyway. Jerry OVERHEARS Bill's and Spaulding's conversation and joins in to help. JERRY You'd be surprised. Would it be OK if we took some pictures and included this place in our book? CAPT. SPAULDING Hey, knock yourself silly. JERRY You got some really rare stuff here. -LRB- pointing to Aqualina. -RRB-. dig your Feegee mermaid.", "INT. SPAULDING'S - RESTROOM - NIGHT The restroom is gray, dingy, a single exposed light bulb hangs from the ceiling. The peeling walls are plastered with newspaper clippings and faded photos. Mary is in the stall, sitting on the toilet, staring straight ahead at a poster of RHONDO HATTON, a B - MOVIE ACTOR that suffered from acromegalia. Denise standing at a tiny sink, splashes water on her face. She looks at herself in the mirror. DENISE -LRB- water running down her face. -RRB- I swear I've aged five years since this trip started. MARY Tell me about it. DENISE -LRB- takes a paper towel and wipes her face. -RRB- God, I hate falling asleep in the afternoon. Now I'll be up all night. -LRB- stretches. -RRB-. ugh, my back is killing me. MARY Yeah, hey how far do you think we are from your Dad's? Mary flushes the toilet and exits the stall. DENISE I do n't know. Couple hours I think. I've got to call him. Mary washes her hands. Denise ties up her hair. MARY It will be nice to have a few days off to regenerate. This trip is fun, but it's starting to get brutal. DENISE Yeah, I hit burn out mode back at that old stripper lady's place. Watching her dance around with those ratty - looking animals was ridiculous. MARY I know, that was some crazy shit. I never in a million years would have believed it if I had n't seen it. DENISE A decent meal every once in a while would n't hurt either, this road food is crap. MARY If I never eat at another Waffle House again, I can die a happy girl. DENISE Scattered, smothered and covered. MARY Exactly. well, I guess a couple more photos wo n't kill me.", "INT. SPAULDING'S - MAIN ROOM - NIGHT Jerry knees over a box of magazines labeled TRUE CRIME $ 1.00, he flips through an issue, tosses it back. Bill leans against the wall next to him, sipping a hot cup of coffee. The girls return from the bathroom. Jerry jumps up with excitement. JERRY Great, you're back. Let's go. We already paid for the tickets. DENISE Tickets for what? JERRY This is n't everything. Get ready for this. there's a Museum of Murder and Mayhem. DENISE I do n't want to see that. MARY How about if we skip it and just hang out here. I can get some great shots of this stuff. Jerry PULLS Denise over and puts his arm around her. JERRY Aw, come on. It will be fun. DENISE Oh yeah, murder museum. sounds fun. Bill grabs Mary by the hand and kisses it. BILL -LRB- smiling. -RRB- We'll need pictures of the inside too. MARY Alright, alright. I know. I wanted to be the photographer. Bill and Mary kiss. Spaulding waits, unamused. He rolls his eyes. CAPT. SPAULDING Anytime this year, people. Alright line your asses up in front of the black door. The tour is about to begin. Spaulding disappears through a curtain behind the counter. The kids wait. The black metal door CREAKS open. They enter the darkened room.", "INT. SPAULDING'S - MUSEUM - NIGHT Darkness. A blue light comes on. Spaulding is standing on a MOTORIZED PLATFORM. He begins the tour, speaking through a small megaphone. CAPT. SPAULDING Ladies and gentlemen, you are about to enter a world of darkness. A world where life and death are meaningless and pain is God. -LRB- pointing with a cane. -RRB- To your left you see the infamous Albert Fish. A lifeless wax figure POPS forward with a loud metal CLANG. Mary jumps back with fright. CAPT. SPAULDING Sadist, masochist, child killer and most of all importantly cannibal. Born in 1870, Mr. Fish enjoyed burning himself with hot pokers, spankings with nail - studded paddles and embedding needles in his groin. On the right, notice the X - ray. CLOSE UP - X - RAY CAPT. SPAULDING showing clearly 29 sewing needles inserted in to his groin. Mr. Fish was executed in 1936 at the age of 65. Spaulding rolls backwards and continues the tour. CLOSE UP ON : a dummy face of a grizzly looking old man in hunting attire. CAPT. SPAULDING To your right. One of our most popular crazies, the psycho of Plainfield, Ed Gein. Behind the figure of Gein hangs an inverted corpse of a slain woman. Mary recoils in disgust. CAPT. SPAULDING Murderer, cannibal and momma's little bitch boy. Mr. Gein found special pleasure in playing with the dead bodies of women, especially their sexual organs. He was quite a handy little dandy, fashioning lamp shades, jewelry and human skin suits from his victims. Mr. Gein was discovered when the decapitated body of Bernice Worden was found gutted like a deer, hanging in his barn. A wax figure of a young man in doctor's scrubs. He is covered in blood. CAPT. SPAULDING And now I would like to introduce a local hero, S. Quentin Quale, a.k.a.. The Butcher Boy, a.k.a. Nurse Nellie and most famously a.k.a. Dr. Satan. Another wax figure, of a bloody corpse, JUMPS up. CAPT. SPAULDING Murderer, torturer and most of all master surgeon. Mr. Quale an intern at Willows State Mental Hospital, nicknamed Weeping Willows for its neverending cries of pain, took great pleasure in control. Through primitive brain surgery. Mr. Quale believed he could create a race of superhumans from the mentally ill, or so the story goes. His terrifying experiments continued until 1952. Jerry stares fascinated. CAPT. SPAULDING At which time he was discovered and turned over to authorities for observation. Unfortunately, Mr. Quale was abducted from his cell by members of the victims' families. Vigilante justice prevailed and Dr. Satan was taken out and hanged. The next day his body was found to be missing. Some say he survived, rescued by his loyal slaves, others say they hung the wrong man. To this day no sign of Dr. Satan has ever been discovered. But who knows? Maybe he lives next door to you. KLUNK : A big metal door opens to the outside world. CAPT. SPAULDING Please exit through the door. The kids exit. SLAM! The door shuts.", "EXT. SPAULDING'S - PHONE BOOTH - NIGHT Denise leans against the glass walls of the phone booth. Various flyers are taped to the inside : free kittens, phone sex ads and a missing poster for a girl named KAREN MURPHY. A light rain begins to fall. Denise puts some change in the phone and dials a number.", "EXT. WILLIS HOUSE - NIGHT The camera moves down a quaint quiet little street. We come to rest at a modest two - story house. The house is decorated for Halloween. Parents and their children roam from house to house, trick or treating. We hear the sound of a phone ringing.", "INT. WILLIS HOUSE - KITCHEN - NIGHT A grey haired man sits at a small table eating a ham sandwich and drinking a beer. This is DONALD WILLIS, Denise's father. He stands up and walks to the phone hanging on the wall. MR. WILLIS Hello. -LRB- brightens up. -RRB-. hey Denise. what, what's wrong, did you break down?", "EXT. SPAULDING'S - PHONE BOOTH - NIGHT DENISE No, nothing like that. yeah, we're gon na be a little late. We stopped for gas at this place called Capt. Spaulding's outside of Ruggsville and it turned into a whole thing, so we're kind of behind schedule.", "INT. WILLIS HOUSE - NIGHT MR. WILLIS Oh yeah, yeah I've driven by that place before. I seem to remember a crabby old bastard in a crummy clown suit running the place.", "INT. PHONE BOOTH - NIGHT DENISE Yeah, well he's still here. I think him and Jerry are fast becoming buddies, you know Jerry. yeah, he's got ta see everything. yeah, I know. thinks there's some unsolved mystery around every corner.", "INT. WILLIS HOUSE - NIGHT MR. WILLIS Well, do n't take too long, the kids are already knocking down the door demanding their sugar fix. I know, I know I forgot to mention that Halloween falls on a school night, so they're trick or treating tonight. I got the joint decked out this year, built a graveyard in the front yard like when you were a kid.", "EXT. SPAULDING'S - PHONE BOOTH - NIGHT DENISE Hopefully I can move things along here and make up the lost time by speeding all the way home. yes, Dad I'm kidding.", "INT. WILLIS HOUSE - KITCHEN - NIGHT MR. WILLIS Well, just promise me you'll be careful. alright, alright see ya soon. good - bye.", "INT. CAR - NIGHT Bill, Jerry and Mary wait for Denise. JERRY I'm gon na go ask him. MARY Aw, come on Jerry. We've gotten all we're gon na get out of this place and its starting to rain. JERRY Shit, it is only sprinkling and it's worth the trouble. Hold on for two seconds. Jerry goes back inside.", "INT. PHONE BOOTH - NIGHT Jerry knocks on the glass as he passes. Denise waves as he walks by. DENISE Yeah so. OK, expect us more around eleven or so. OK yeah, I will. love you, too, bye. She hangs up the phone, opens the doors and heads back to the car.", "INT. SPAULDING'S - NIGHT JERRY I know it's hard to understand, but I really want to see this tree. CAPT. SPAULDING OK, alright I'll draw you a map, but I still say it is a waste of time. JERRY Great.", "INT. CAR - NIGHT Through the window we see Jerry talking to Spaulding. Spaulding draws a map, explaining as he draws. MARY Geez, he never gets tired does he. DENISE Never. I swear to God he never sleeps, he goes to bed after me, wakes up before me. He's always working on 10. MARY Maybe he's a cyborg. BILL -LRB- wearily, sips his coffee. -RRB- I like sleep. DENISE Here he comes. Jerry comes bouncing out towards the car and jumps in. He is holding a map and a box of chicken. JERRY We hit the jackpot! Let's roll, good buddy. We got ourselves a convoy. MARY Huh? DENISE Ugh, what's that smell? JERRY Fried chicken. -LRB- holds up a drumstick. -RRB- Anybody want some? No one responds.", "EXT. WOODS - DAY An OLD FARMER and his WIFE stare directly into the camera. OLD MAN I do n't know where that skunk ape sleeps. Maybe in the trees and all. all I know is he eats squirrels to survive and he had impure relations with my wife. WIFE That's true. He performed lurid acts upon me and my person while my husband Russell was a fix'n to our hound Clarence. OLD MAN If I see that thing again. I'm a gon na kill that skunk ape. BILL -LRB- off screen. -RRB- What does it look like? WIFE It looked just like that chubby fella from McHale's Navy. Ernie Borgnine. OLD MAN Hold up the picture. The wife holds up a pencil sketch of a Bigfoot like creature and a newspaper photo of Ernest Borgnine.", "EXT. COUNTRY ROAD - NIGHT Bill's car moves past empty farmlands. A HEAVIER RAIN is now falling.", "INT. CAR - NIGHT Jerry directs Bill from Spaulding's hand - drawn map. JERRY Keep straight on this road here. BILL How much further? JERRY I'm not exactly sure. it looks close. Did we pass an abandoned school bus yet? BILL I do n't know. Mary and Denise sit bundled up in blankets. MARY Let's just skip it. It is probably nothing anyway. DENISE Aw Christ, Jerry. We ca n't see anything now, it's too dark. Let's forget it. JERRY Come on, we need something like this. It could be the real deal. It's too far out of the way to come back to. BILL What's that? Through the windshield we see a LONE FIGURE hitch - hiking by the side of the road. It is a girl, BABY, 27, in a worn cowboy hat and long fur coat. She is soaked to the bone. JERRY It's a hitchhiker. BILL Way out here? MARY Well, do n't even think about playing the good samaritan, there's way too many psychos wandering loose these days. BILL -LRB- looking closer. -RRB- It's a girl. JERRY Hey, maybe she knows where this is? DENISE -LRB- sarcastically. -RRB- That seems likely. MARY Should we stop? BILL We ca n't leave her out here in the rain. maybe we can just drop her at the next rest area. MARY She looks like a freak. DENISE Stick her in the front, if you want to pick her up so bad. She's soaked. MARY She looks like she stinks. BILL -LRB- imitating Mary. -RRB- She looks like she stinks. JERRY -LRB- makes cat noises. -RRB- Cat fight, cat fight. DENISE Hardy har, har. The car pulls over and Baby jumps in. The car moves off.", "INT. CAR - NIGHT Once inside the car they see that the girl is a bit odd. BABY Whoa, thanks for stopping. I been standing out there in that toad strangling rain for like a hundred million years. JERRY Really, that's a long time. BABY Yeah, most people just whiz on by like I was invisible or something. or else they're creeps who wan na jam their slimy hands down my pants and twiddle my naughty - naughty. JERRY Yikes. BABY Yeah, icky. This one guy stops and I look in and he's got his thing out waving it around like a drunk monkey. DENISE Well, hitchhiking ai n't the safest way for a girl to travel. BABY Yeah, but it's fun. MARY Sounds like a magical trip through the heartland. BILL Where ya headed? BABY Aw, I was going home to my Mamma's house. yeah, I was out doing this thing. BILL Where's that? BABY Couple more miles up this road. JERRY Hey, you might know. -LRB- shows her the map. -RRB-. you know where this tree is at? It's an old hanging tree from. The Baby PERKS UP at the mention of the tree. BABY Yeah, I know where that is, it's right by my house. It's Dr. Satan's tree. I can show ya. JERRY Really, wow, so it's really a real thing. BABY Yeah, it's a tree. I used to play there all the time. But, you ca n't find it without me. Outsider ca n't find no deadwood. JERRY Deadwood, is that what it's called? Cool, will you show us? BABY Maybe, maybe, maybe. hey, you know what word I hate? JERRY What? BABY Cone. JERRY Huh. what cone? BABY Any cone, yeah. -LRB- looking out the window. -RRB- I hate that word. sounds ugly, I do n't like crumple either. JERRY I always hate saying the word cheese, every time you get your picture taken. smile, say cheese. BABY I know I hate Swiss cheese, the holes make me nervous. BILL What about the tree? BABY Oh yeah, the tree. MARY This is crazy. She do n't know nothing. Baby turns her attention toward Mary. BABY Oh, I know. I'll show you where it's at, sweetie. Are n't you just so cute all bundled up like a cinnamon roll of Christmas love. JERRY Cool. BILL Which way? BABY Go straight up about another mile. til we hit Cherrypicker Road and turn right. it ai n't far from there.", "INT. MENTAL HOSPITAL The camera FLOATS through the hallways of the Peabody Mental Institution. It is HALLOWEEN. PATIENTS wander the stark halls dressed in hospital gowns and cheap plastic masks. Some are laughing, some are screaming. We move into a private room. Where we see DOCTOR SATAN completely covered except for his eyes, hovering over a BOUND AND GAGGED PATIENT. We move off the doctor to a crayon child's DRAWING of a JACK - O' - LANTERN. Tortured screams fill the room.", "EXT. CHERRYPICKER RD. - WOODS - NIGHT From a STRANGER'S POV we see the car STRUGGLING down a dirt road.", "INT. CAR - SAME Everyone rides in silence, music plays on the radio. The song ends and a NEWS REPORTER comes on. NEWS REPORTER -LRB- V.O. -RRB- This is WJRC News at the top of the hour. Investigators in Clairemont County are no closer to identifying the body of a young woman found crucified to the doors of St. Mary's Church yesterday morning. Baby lights up a cigarette and takes a drag. MARY Excuse me, could you not smoke in here? Baby puts out the cigarette on the back of her hand. NEWS REPORTER -LRB- V.O. -RRB- Local police and State Officials have released this report. JERRY What's that? BILL I do n't know. Looks like some kind of animal. Bill stops the car.", "EXT. CHERRYPICKER RD. - WOODS - NIGHT Sitting dead center in the middle of the road is a HUMONGOUS DOG. The dog stares straight ahead. Long strands of drool hang from its mouth to the ground.", "INT. CAR - NIGHT MARY Why are we stopping? BILL There's a dog in the road. DENISE Honk at him. Scare him. BILL -LRB- honking horn. -RRB- He wo n't move. MARY Go around him. BILL There's not enough room. MARY Then run him over, he'll move. BABY No! He's one of God's creatures, he ca n't help it if he's dumb. I'm just crazy about animals. MARY -LRB- to Denise. -RRB- The animals have got nothing to do with it.", "EXT. STRANGER'S POV - SAME A gun barrel is raised and we are looking through the sight at the car. Pop! Pop! Pop! The GUN fires THREE SHOTS at the car's rear tire. The stranger whistles and the dog moves to the side of the road.", "INT. CAR - NIGHT The SOUND of the heavy rain MASKS the gunshots. BILL Hey, he moved. MARY Let's get going before that thing tries to eat the car or something. As the car moves past, Denise stares at the dog sitting calmly to the side of the road. The dog blankly stares back at her. JERRY That reminds me of a film I saw once of a guy who got out of his car at Lion Country Safari to take a picture of a lion cub and got eaten by the lions. BILL Oh yeah, I heard about that. I always thought it was bullshit. JERRY No. yeah, they ripped him to pieces while his family watched from the car. The wife is screaming, the kids are crying. Some dude in another car filmed the whole thing. BABY I'd like to see that. MARY Nice. JERRY The lions were totally covered in this guy's blood. I think they ate his face off, tore open his rib cage, pulled his legs off. it was a wild scene. BABY Things like that get a lot bloodier than ya think. Without warning the car lunges to one side. JERRY What was that? BILL Fuck. I think we blew a tire. MARY Do n't even say it. DENISE You got to be fucking joking. MARY God damn it, I knew this witch - hunt was fucking bullshit. BILL OK, let's relax. I'll check it, maybe I'm wrong. Do n't everybody freak out just yet. JERRY I'll help ya. BILL -LRB- sarcastic. -RRB- Gee, ya think it would n't be too much trouble.", "EXT. CHERRYPICKER ROAD - WOODS - NIGHT Bill and Jerry stare down at the blown tire sunk in the mud. BILL I hope you fixed the spare like I asked ya. JERRY Yeah, I fixed it. Well, I ai n't. um, I ca n't remember. I think I took it out to fit the bags and forgot to put it back. BILL Jesus Christ, Jerry. JERRY Well, technically I did what ya said. BILL You're a real fucking piece of work. Bill stares at Jerry in disbelief.", "INT. CAR - NIGHT Baby is leaning on her chin staring at Mary and Denise. The car radio plays in the background. MARY Can I help you with something? BABY I was just wondering. MARY Wondering what? BABY Are you two gals all funny with each other? MARY What? BABY You know. a couple of queers. MARY Do you believe this fucking girl? BABY -LRB- turning her attention to Mary. -RRB- I was just wondering, cause you got a pissy look about you. like a real pussy licking bitch. Denise tries to QUICKLY defuse the situation. DENISE No. No pussy licking here, but thanks for your concern. Bill and Jerry slide back into the car. BILL Well, I got some bad news and some bad news. MARY What? JERRY -LRB- fake Scottish accent. -RRB- Tire's fucking gone crap on us, man. There's no saving it now. BILL And the spare is safely sitting in Jerry's garage. DENISE For fucking sake Jerry, what the fuck are we gon na do? Baby starts laughing. MARY What the hell are you laughing about? BABY I just pictured the tire sitting in a chair watching TV. MARY Oh, wonderful. -LRB- muttering to herself. -RRB- Fucking psycho. BILL I guess I'll try to back it out on the rim. at least to the main road. BABY If you keep going straight you can get back on the interstate. it's easier. MARY Just back up. JERRY I think we should go straight. I mean we know for a fact there ai n't nothing back that way, right? BABY Oh wait! I love this song! Baby reaches over and TURNS UP the VOLUME. She loudly sings along with the song. BILL Fine. I'll go straight. MARY What! BILL -LRB- over the loud music. -RRB- Fine! I'll go straight! The car moves forward. After about fifty yards the car HITS something hard and gets stuck in a deep mud bog. BILL Fuck! We are fucked! DENISE Turn that fucking radio off! Bill shuts off the radio. DENISE Now what are we gon na do? BABY We can walk to my house from here. My brother's got a tow truck, he can come get your car. A silence falls over the car. MARY I think I'm going fucking crazy. DENISE I ca n't believe. BILL OK, whatever. Let's go get your brother's truck. Faster we get the truck, faster we get out of here. BABY OK. JERRY I'll go. It's my fault. MARY You said it, not me. BILL Forget it. I'll just go. MARY Screw that, no way, I ai n't letting you go by yourself. BILL Do n't worry, I'll be quick. Just stay here, no sense everybody getting drenched. JERRY I agree. BABY Yeah, it wo n't take long and besides you sassy poodle girls will slow us down. Baby jumps up and gets out of the car. BILL Do n't worry, I'll be right back. BABY Come on. JERRY Do n't forget the flashlight, it's pretty dark out there. BILL Thanks. JERRY No problem. Bill kisses Mary good - bye and EXITS. Mary watches Baby and Bill head off into the WOODS. Baby turns and makes a kissy face at Mary.", "EXT. MISS BUNNY'S HOLLYWOOD REVUE - DAY A hand painted tin sign surrounded by flashing lights which reads MISS BUNNY'S HOLLYWOOD REVUE hangs over the entrance to a small garage. Movie star portraits of JEAN HARLOW, W.C. FIELDS and CLARK GABLE adorn the walls of the garage. An over the hill ex - glamour girl, MISS BUNNY, 55, comes into frame. She's dressed in a sparkling red gown with feathers in her hair. MISS BUNNY -LRB- bad Marilyn Monroe imitation. -RRB- Hi, I'm Miss Bunny and welcome to my Hollywood Revue. -LRB- she giggles. -RRB-. where the stars shine forever.", "INT. MISS BUNNY'S HOLLYWOOD REVUE - DAY Tinseltown lives. Tin foil is wrapped around everything, the walls, doors and ceiling. Fake cement handprints of movie greats cover the tiny floor. Badly sculpted statues of MARILYN MONROE, GROUCHO MARX and JOHN WAYNE stand in the corners. Dead center is a small puppet show stage. MISS BUNNY Hi, this is the place where the magic happens. CLOSE UP - SQUIRREL A stuffed squirrel dressed in a gray skirt and jacket, a tilted hat sits atop its head. MISS BUNNY -LRB- holding up squirrel. -RRB- This is Jenny, she is our resident Ingrid Bergman. Miss Bunny picks up a stuffed white cat wearing a brown trenchcoat. MISS BUNNY This is Ronald J. Perrywinckle. our Humphrey Bogart. today we'll be doing a scene from Casablanca. Miss Bunny begins to make the dead animal puppets interact. She provides their voices. HUMPHREY CAT If that plane leaves the ground and you're not with him you'll regret it. maybe not today, maybe not tomorrow but soon and for the rest of your life. INGRID SQUIRREL But what about us? HUMPHREY CAT We'll always have Paris. We did n't have, we lost it. until you came to Casablanca. We got it back last night. INGRID SQUIRREL When I said I would never leave you. HUMPHREY CAT And you never will.", "EXT. WOODS - NIGHT A single flashlight beam cuts through the darkness of the dense woods. Bill stumbles behind Baby, she is clearly in her element. BILL How much further? BABY Almost there. are you in a hurry or something? BILL Well, yeah, kind of.", "INT. CAR - NIGHT Jerry is stretched out across the front seat, reading a book on Freak Shows. Denise and Mary sit in the back, curled up under layers of blankets and clothes. DENISE Fuck, it's freezing. JERRY Hey, listen to this. I think this is related to our Dr. Satan. DENISE Oh, yeah. JERRY Yeah, in this book there's a chapter called Self Made Freaks about how people would mutilate themselves in order to work in a freak show. It mostly talks about tattooed people and wild men of Borneo and shit like that, but there is one mention of a single case where a woman was suspected of having her arms removed on purpose to become an arm - less wonder. DENISE Yeah, so how does that fit with the story of four morons with a flat tire looking for a dead tree? JERRY It says, `` records show that Ellie Thompson was born in 1914 of normal physical stature and lived a life of normal bearings, until such time that she was placed in the care of the Willows State Mental Facility.'' DENISE So. JERRY Now she was put in the nuthouse in 1930 at the age of 16. DENISE Why? JERRY -LRB- scanning the book. -RRB- Blah, blah, blah. it does n't say, but she was released sometime in 1937, only to reappear as Ellie Bogdan, the arm - less wonder. Says she, `` criss - crossed the United States constantly in carnivals and freak shows until her death in 1946.'' DENISE Yeah? JERRY These dates perfectly correspond with the time frame of our beloved Dr. Satan working at the looney bin. I'll bet he amputated her arms. DENISE So what? JERRY I do n't know, I just thought it was interesting. DENISE You know what Jerry, who really cares at this point? JERRY I do n't. -LRB- to himself. -RRB-. I just thought it was weird. MARY -LRB- bursting in. -RRB- God damn it, I must be fucking crazy to let him go off with that crazy fucking bitch. JERRY Huh? MARY That stupid hillbilly slut. JERRY Oh, do n't blow everything out of proportion. MARY You did n't see the look she threw me. She's up to something. DENISE Yeah, Jerry, she said some pretty fucked shit to us. JERRY When? DENISE When you were outside with Bill. MARY She said we look like pussy lickers or some shit like that. DENISE Yeah, she said we looked queer. JERRY Aw, get over it, she's just some dopey redneck, she ai n't smart enough to be up to nothing. I mean anything. chicks.", "EXT. FARMHOUSE - NIGHT An old Gothic FARMHOUSE stands atop a hill at the end of a long sloping dirt road. SCARECROWS with pumpkin heads hang CRUCIFIED on crosses lining the drive. Everything is severely overgrown. Bill and Baby enter the gates of the FARM, they walk up the main drive. Baby runs forward and begins jumping around in the huge mud puddles, then runs up onto the front porch of the old house. The front of the house is covered with strange junk art. Hundreds of dolls faces are nailed to the walls. BABY These are all my dolls. I use to like to chop their heads off. Broken bottles and cans are cemented together in weird HUMAN FIGURES, ANIMAL SKINS stretched over bone armatures form a makeshift roof. Glowing down from the upper windows are grinning JACK - O' - LANTERNS. BABY The door's locked. I'll got ta go around. wait here. BILL OK. Baby RUNS OFF around the side of the house. Bill stands looking off into the distance at the desolate farm grounds. The rain continues to hammer down. From BILL'S POV we see a silhouette of a LONE FIGURE walking in the distance. The shape of a large dog follows behind him. Bill JUMPS, startled by the sound of the heavy front door opening. BILL Christ, you scared the shit out of me. BABY Aw, you ai n't seen nothing yet. BILL Is your brother ready to go? BABY Oh. yeah, he already left. We'll wait inside, come on. BILL He left! BABY Yeah, come on. Baby GRABS Bill by the arm and pulls him into the house. The heavy iron door slams shut.", "INT. CAR - SAME Denise and Mary sit facing one another, playing cards. Mary deals from a deck. Jerry naps in the front seat. MARY How long has it been? DENISE I do n't know. about half an hour. A metal KLANG is faintly heard. MARY What was that? DENISE What? I did n't hear anything. MARY Wait. quiet. Turn off the radio. Mary reaches over the front seat and turns off the radio. DENISE Now. listen. They sit in silence. MARY I do n't hear anything. DENISE -LRB- whispering. -RRB- Shhhhhh, quiet. MARY I still do n't. DENISE Turn on the headlights. See if anything is out there. Mary turns on the headlights. Denise lets out a blood - curdling SCREAM. Jerry bolts up. JERRY What. what! Standing dead center in the road is the GIANT SHAPE of a MAN holding a heavy chain with a huge hook on the end. MARY Lock the doors. quick, quick. Everybody scrambles to lock the doors. DENISE Holy fuck, holy fuck, holy fuck. On closer inspection, Jerry notices the chain is attached to the back of a TOW TRUCK. JERRY Hold on, hold on! Everybody calm down! It's the tow truck guy. MARY What! DENISE Jesus Christ. MARY I think I'm gon na have a fucking heart attack. JERRY -LRB- Scottish accent. -RRB- OK lassies, I think it's time you get to gripping reality. MARY Enough with the stupid voices. The brute man attaches the chain to the car and begins raising it with his truck. A SIGN on the side of the truck reads FIREFLY TOWING. CLOSE UP - TV SCREEN We are watching a scene from THE OLD DARK HOUSE. GLORIA STUART, RAYMOND MASSEY and MELVYN DOUGLAS are standing in the rain pounding on a huge wooden door. GLORIA STUART Knock again louder. MELVYN DOUGLAS I should of thought that was loud enough to wake the dead. that's an idea. RAYMOND MASSEY What is? MELVYN DOUGLAS Would n't it be dramatic, supposing the people inside were dead. All stretched out with the lights quietly burning about them. GLORIA STUART I'm sure it would be very amusing. We pull back from the TV to see Bill's clothes drying by the fireplace. Bill, now wearing overalls and a flannel shirt, is sitting on an old over stuffed sofa. BILL So, you live here alone. I mean with just your brother? BABY -LRB- speaking from the next room. -RRB- No. There's a bunch a us ` round somewhere. I think Mamma's sleepin'. She sleeps a lot, now. do you want marshmallows? BILL Um, yeah sure, I guess. BABY You sure do a lot of guessing. Baby sets down the tray, making sure to bend over close to Bill. She hands him his drink and sits down next to him. BILL Thank you. BABY You're welcome. Baby moves closer to Bill, he begins to get nervous. BILL Hey, um. -LRB- pointing to the mounted animal head over the fireplace. -RRB-. what kind of animal is that? BABY A dead one. BILL -LRB- sipping his drink. -RRB- Mmmmm, this is tasty. BABY -LRB- scoops out some marshmallow with her finger. -RRB- Ai n't the only thing tasty in this house. -LRB- licks it off. -RRB- BILL I wonder what time it is. Seems kind of late. BABY Do n't worry, sugar. It ai n't past my bedtime. are you flirting with me? BILL What? No, I'm was worried that. I was just wondering what's taking so long. BABY Oh. Maybe R.J. got into a crash and killed everbody? BILL That's not something to joke about. BABY -LRB- rolls her eyes. -RRB- OK, sorry. maybe the Great Pumpkin ate'em up. Finally, the SOUND OF A TRUCK pulling up can be HEARD. Bill jumps up and goes to the window. BILL Hey, great they're back. BABY -LRB- sarcastically. -RRB- Whoopie fucking doo. TV SCREEN - SAME On the B+W screen we see DR. WOLFENSTEIN, a local horror movie host. He looks like a cross between the WOLFMAN and LON CHANEY in LONDON AFTER MIDNIGHT. DR. WOLFENSTEIN -LRB- sounds like Wolfman Jack. -RRB- Aaaahooooh, the Doctor is in! Do n't move, do n't scream. Stay tuned for more creature craziness from channel 68's Halloween eve movie marathon. I'm your host. your ghost host with the most, baby. Dr. Wolfenstein and will be with you until the end. Aaaaaaahooooooh!", "EXT. FARMHOUSE - NIGHT Bill stands on the front porch watching as the truck roughly jerks the car to a stop. Jerry jumps out, opens the back door and helps Denise. JERRY -LRB- looking at Bill. -RRB- Hey, nice outfit Billy Bob. DENISE Thanks for coming to get us. Little brother almost scared us to death. JERRY -LRB- quietly to Bill as he passes. -RRB- Dude, your chick's a little high strung. Mary is the last one out of the car. She says nothing as she walks to join the others on the porch. Her look says it all as she walks by Bill and into the house. BILL Mary, I'm sorry but he left without me. Mary. come on, you do n't think I'd leave you stranded out there.", "INT. FARMHOUSE - NIGHT Everyone stands around at the fireplace, trying to dry off. DENISE Look. I got ta call my Dad and tell him we're gon na be late. Can I use your phone? Baby sits silently watching TV. DENISE Excuse me, may I please use your phone? MARY -LRB- sarcastically. -RRB- Bill, why do n't you ask her. she's your special friend. A VOICE from upstairs answers. MOTHER Ai n't got one. MOTHER comes into view from the darkness above. She is in her fifties, but looks younger. A sleazy white trash queen. She slowly descends the stairs. DENISE Huh? Oh, hi. You really do n't have a phone? MOTHER No, none. I had one once, back in'57 maybe. I do n't know. Really ai n't nobody we wan na be jaw flapping at around here no more. JERRY Hey, maybe the guy with the tow truck could drive us to a phone. MOTHER His name is Rufus, Rufus Jr., but we all call him R.J. JERRY Oh, right. MOTHER What do they call you, sweety? JERRY Um, I'm Jerry. that's Bill. Denise and Mary. BILL Yeah, maybe R.J. could just tow us and our car to the nearest garage. DENISE I mean obviously we will compensate you for your troubles. MOTHER Oh, you ai n't no troubles, no, no, no fuss. -LRB- claps her hands. -RRB- Baby. go see what Rufus Jr. is doing with these nice folks' automobile. Baby slowly rises like a defiant child and walks out of the room. MOTHER In the meanwhile please make yourselves at home. MONTAGE Gruesome crime scene photos flash across the screen. CHILDREN -LRB- singing, off screen. -RRB- 98 bodies in your bed, Some are green, some are red. Eat the flesh and pick the bones, Drink the blood when you get home. 99 bodies in the ground, Some are blue, some are brown. Gather ` round the people said, Where do you go when you are dead?", "INT. FARMHOUSE - LIVING ROOM - NIGHT Mother, Jerry, Denise and Mary are all seated on the sofa. Bill sits in an easy chair. MOTHER So, what brings you kids way out here, ai n't you got something better to do for Halloween than wander around out here in the sticks? JERRY Well, I thought I'd maybe take in a hoedown. MOTHER -LRB- flirting. -RRB- Oh, really. -LRB- puts her hand on Jerry's knee and winks. -RRB-. well, I'm a pretty good dancer if you know what I mean. I bet I got a few moves you ai n't never seen. JERRY I do n't doubt that. DENISE No, he's just joking. We do n't really have any plans other than spending the night at my Dad's house. -LRB- glances at Jerry. -RRB-. which is where we were headed when our car broke down. MOTHER That's nice. DENISE Yeah, I guess I'll just help him hand out candy to the trick or treaters. JERRY And I'm gon na help put the razor blades in the candy apples. MOTHER I'll bet you are. you are a naughty little thing are n't ya. JERRY I was just kidding. Bill and Mary snicker at Jerry's comments. Denise tries to keep a straight face. MOTHER Oh, I get it. I guess you think you're too good for the simple pleasures of Halloween. MARY No, just a little too old. MOTHER Oh really, well I hope something changes your mind some day. Baby returns from the garage. BABY Tiny's home. MOTHER What about R.J? BABY Oh, he was already gone before I seen him. but Tiny saw him and said he said he was going out to the yard to get a new wheel. BILL The yard, what's that? MOTHER It's an old auto junkyard out in Baldwin. DENISE How long is that gon na take? MOTHER He should be back in a couple hours. MARY A couple hours! DENISE Ca n't Tiny drive us to a phone? Mother and Baby laugh. MOTHER -LRB- laughing. -RRB- Tiny ai n't got no car, he ai n't even got a bicycle. DENISE How's he get around out here? BABY He walks, duh. MARY Fucking great. MOTHER I know you're my guests and welcome but I'd please advise you to keep from cussing while in my house, thank you. MARY Sorry. MOTHER Well, even though I know it seems childish to you all. Tonight is Halloween eve and it special to us so you are all invited to stay for dinner. Under the circumstances they realize they have no choice. They grin and bear it. DENISE Thank you. JERRY -LRB- imitates Elvis. -RRB- Yes, thank you. Thank you very much. MOTHER -LRB- Mother touches Jerry's shoulder suggestively. -RRB- You're a strange one, are n't ya honey. I think you and me are get on like. -LRB- she thinks for a second. -RRB-. like something real good. Camera moves over to the TV. THE END fades up on screen. Dr. Wolfenstein appears over the credits. DR. WOLFENSTEIN There well, who knew there was love to be found in The Old Dark House. Coming up next, do not move a muscle, an artery or a vein as we venture into another creepy classic. are you ready for THE WOLFMAN, baby?", "INT. HOUSE - DINING ROOM Bill, Jerry, Mary and Denise are now all seated around a large dining room table. A thick mountain of candles sits burning dead center on the table, giving off a warm glow. Dozens of Halloween decorations dangle from strings over the table, spiders, bats and black cats. There is a hand - made PAPER MACHE MASK sitting on each plate. MARY -LRB- holding up the witch mask. -RRB- I hope to Christ she does n't expect us to wear these things. BILL Whatever it is just do it. The more we play along the faster we'll get the hell out of here. DENISE Really, now is not the time to make waves. JERRY Hey, I'm just waiting for Cousin Itt to show up. DENISE Shhhhhh. Mother walks in holding a covered serving tray. DENISE You sure you do n't need any help in there? MOTHER No dear, I'm fine. Now what kind of host would I be if I put my guests to this kind of work. She sets the tray and goes back in the kitchen. BOOM! The sound of the front door SLAMMING shut is heard, followed by the POUNDING of heavy footsteps. Mother's and Baby's shouting is heard. BABY -LRB- O.S. -RRB- Ma, Tiny's in. MOTHER -LRB- O.S. -RRB- Go tell him to get your Grandpa.", "INT. HOUSE - BABY'S ROOM Baby is standing in front of her closet staring at her clothes. The walls of her room are covered with B+W photos of movie stars. BABY -LRB- whining. -RRB- Ma, I ca n't, I'm busy getting dressed.", "INT. HOUSE - DINING ROOM TINY ENTERS and removes his coat. Everyone is speechless. Tiny is over SEVEN FEET TALL and weighs THREE HUNDRED POUNDS. He is wearing a black sweater with a big red skull stitched into it. A red knit ski mask covers his face. Black gloves cover his hands. Tiny sits at the table, looks down at his plate and says nothing. Mother comes to fetch Tiny. She relays a message to him with strange hand gestures. Tiny gets up and leaves the room. MOTHER You'll have to forgive Tiny, he ca n't hear so much. DENISE Oh. MOTHER Yeah, my poor baby. It's his Daddy's fault. I mean Earl was a good man. I mean he never hit me or nothing, but one day he just got up and went pure devil on us all. DENISE What happened? Oh, I'm sorry, it's none of my business. MOTHER He tried to burn the house down, said it was possessed by the spirits. Tiny was sleeping in the basement where the fire started. I do n't think Earl ever meant to harm us. but Tiny was badly burnt, his ears were destroyed and most of his skin. BILL Is that why he wears the mask? MOTHER Yeah, my baby boy gets shy around new people, but he'll warm up to ya. especially the ladies. JERRY Great. I thought I felt a certain attraction between Mary and Tiny soon as he walked in. MOTHER Maybe. He's a real lady killer. JERRY Did n't ya think, Mary? Mary just smiles, then gives Jerry a dirty look. MOTHER Well, we'll see. the night is young and so are you. oh well, couple more minutes. Mother returns to the kitchen. DENISE -LRB- elbows Jerry. -RRB- Do n't be such a fucking smart ass. MARY Yeah, it's really your fault that we're stuck in this shithole in the first place. JERRY Oh, do n't worry she did n't get offended by what I said. You two got to lighten up. right, Bill? BILL Whatever, at this point all I care about is food. I'm starving and I got a fucking killer headache. JERRY Hey, I asked you if you wanted some chicken. BILL Did n't look like chicken to me, more like fried pussy cat. JERRY -LRB- shrugs. -RRB- Tasted pretty good.", "INT. FARMHOUSE - GRAMPA'S ROOM - NIGHT In a cramped, darkened room we see the huge shape of Tiny hovering over a BED containing the hunched, fragile old body of GRAMPA. Grampa struggles to sit, then slowly slides his legs over the edge of the bed. Tiny helps him to stand. GRAMPA God damn it, I can do it. I can do it myself, ya big monkey. I ai n't dead yet. so do n't you and your sister start counting out my money yet. Grampa steadies himself against Tiny. They slowly walk out of the room. GRAMPA God damn, my dogs are barking. As they move into the light of the hallway, it is clear that Grampa is in his late 80's. Grampa quickly grows tired. Tiny picks him up in his arms and carries him down the stairs to the dining room. As they move past, the camera comes to rest on a STRANGE OBJECT sitting on a shelf. A LARGE GLASS JAR containing a DEFORMED BABY. The pickled punk looks to have a small second head growing from its temple. The label on the jar reads STUFFY 1973. The sound from the TV fades up in the background. BELA LUGOSI'S VOICE can be heard. BELA LUGOSI -LRB- V.O. -RRB- Your hands, please. Your left hand shows your past. TV SCREEN Bela is seen as a fortune teller holding a woman's hands. This is a scene from The Wolfman. BELA LUGOSI and your right hand shows your future. CLOSE UP We see a tight shot of the woman's palm. A pentagram appears.", "INT. DENISE'S FATHER'S HOUSE - NIGHT We PULL BACK from the TV to find Donald Willis sitting in a old easy chair. The room is modest, but comfortable. He reaches over and picks up a small alarm clock, notices the time, concerned look comes over his face. The phone rings. He quickly answers it. MR. WILLIS Hello, Denise? Disappointment. He mutes the TV. MR. WILLIS Oh, yeah. no, Fred. I was hoping you were Denise, she's a little late. -LRB- pausing. -RRB- Yeah, yeah I'm sure the rain just slowed'em down. yeah. uh - huh, yeah. no, no you can keep it'til Tuesday. alright, talk to ya tomorrow, bye. Unmutes the sound on the TV.", "INT. DINING ROOM - NIGHT The feast is on. Mother, Tiny, Grampa, Jerry, Bill, Mary and Denise are gathered around the table. MOTHER OK, everyone, put on your masks. We ca n't very well eat with our everyday faces exposed. Mother puts on her mask, Tiny and Grampa follow. Jerry, Bill and Denise slowly raise up their masks, Mary hesitates. GRAMPA -LRB- to Mary. -RRB- Christ kid, put it on. She ai n't letting any of us touch the grub'til you're wearing the damn thing. Mary rolls her eyes and complies. JERRY I've been meaning to ask you, Mrs. Ummmm. MOTHER -LRB- hesitates. -RRB- Firefly. JERRY Firefly. mmmmm odd name. Mrs. Firefly, do you know anything about the legend of Dr. Satan? BILL Here we go. Grampa shifts his eyes onto Mother. MOTHER -LRB- nervously. -RRB- Well, I'm not much for local gossip an this and that, but I've heard it mentioned in passing over the years but. I mean folks is queer and they say things, crazy things you know what I mean? GRAMPA It's all talk, yakty yak, like a bunch of hungry chipmunks. Christ, Dr. Satan. That takes the bull's nuts alright. -LRB- starts laughing. -RRB-. hey, I hear some genius up north got a hot line on the Easter Bunny for ya. A voice from the shadows interrupts. OTIS -LRB- slowly. -RRB- I know all about what you want to know about. A PALE FIGURE creeps forward like NOSFERATU from a dark corner of the room. This is OTIS. He stands six foot, but is deathly slim. His skin is translucent, glowing in the dark. Long thin white hair covers his head. His eyes are grey. He is an ALBINO. He is holding a GLASS JAR containing a SMALL FETUS. On closer inspection we see there are two small bodies joined to one head. The label reads WOLF. MOTHER -LRB- happy surprise. -RRB- Otis! I ca n't believe you decided to come down and join us. and you brought little Wolf. This really is a special night. all my babies together. Otis sets the disturbing jar of Wolf on the table. He leans forward onto the jar, resting his chin. OTIS Now, I do n't know where you heard all your little fairy fables about Dr. Satan but. BILL From a Captain Spaulding down at some museum. OTIS -LRB- laughing. -RRB- That old bitch hog do n't know shit. He tells cute little tattle - tales to sell his junk, but he do n't sell no Yankee boys no truth. JERRY But something happened, right? I mean the story is based on a real incident, right? GRAMPA -LRB- mouth full of food. -RRB- What are you, Jimmy Olsen cub reporter for the Daily Asshole? MOTHER Grampa. watch the language. OTIS I ai n't sure that you really need to know. It's better you go home still dreaming about your kitty cats and puppy dogs. JERRY I really want to know. GRAMPA Hey, the kid wants to know. Enlighten him. OTIS Boy, I bet you'd stick your head in the fire if I told ya you'd see Hell. meanwhile you too stupid to realize you got a demon sticking out your ass singing, `` Holy Miss Moly, I got a live one.'' DENISE Can we please change the subject? The CLOCK on the wall strikes TEN. GRAMPA -LRB- shouting. -RRB- Dinner's over. -LRB- pushes his plate back and stands up. -RRB- Ladies and Germs. it's showtime. Grampa hobbles out of the room. BILL What's he so excited about? DENISE Yeah, showtime for what? MOTHER For the show. It's Halloween eve and time for our show. JERRY Oh, you mean on TV. MOTHER No, no, no it's so much more special than that. you'll see, you'll be the first to ever see. I think this is something you'll really love. JERRY Great.", "EXT. FARMHOUSE - BARN - NIGHT Billy, Jerry, Mary and Denise stand waiting in front of an old barn. Tiny unlocks the huge doors of the barn and swings them open. Standing inside waiting is Mother. She is all dressed up for the occasion. MOTHER Please, come in. how many in your party. -LRB- she counts the heads. -RRB-. one, two, three and four. right this way. Mother hands each of them a folded piece of paper, which serves as a program book. Hand drawn on each is an orange pumpkin.", "INT. FARMHOUSE - BARN - NIGHT We follow Mother inside. Thousands of red Christmas lights hang down, strung through the rotting wood rafters. Crates, barrels and an odd assortment of chairs face a large quilted curtain. Filling these seats are LIFELESS DUMMIES. MOTHER Please be seated. Mother motions toward four empty seats in the front row. JERRY -LRB- whispering. -RRB- This is way too fucked up for words. MARY -LRB- loud whisper. -RRB- I know the words. fucking psycho fucking bullshit, that's the words. BILL Just grin and bear it. DENISE That food. -LRB- holding stomach. -RRB- ugh, I feel like I'm gon na puke. Jerry, Bill, Mary and Denise take their seats. Mary flips open the program. Inside, written in crayon, are the words : HALLOWEEN EXTRAVAGANZA - starring the Comedy Legend GRAMPA and the World Famous BABY. MARY -LRB- to Bill. -RRB- Check this out. BILL Well, ya ca n't complain I never take you anyplace. The sound of a warped crackling record fills the room. Lounge music. A small spotlight hits the quilted curtain covering the stage. Mother Firefly stands behind the controls. She is smiling proudly. The curtain clumsily parts TO REVEAL : A stage set pieced together from amusement park wreckage. A giant painted plywood devil looms over the stage, surrounded by dancing skeletons and demon girls. A microphone stands center stage. BILL -LRB- quietly. -RRB- I ca n't believe what I'm seeing. JERRY I know, this is fucking nuts. MARY This is starting to make me real uncomfortable. BILL Just sit back and enjoy the show. The sound of CANNED APPLAUSE fills the room. Bill begins to applaud, Jerry and Denise join in. Mary does not. GRAMPA -LRB- V.O. -RRB- Ladies and gentlemen, straight from his smash six week sold out run at Tiki - Ti Club. the Stardust lounge is proud to present Mr. Sexy himself. Grampa Hugo. Grampa walks out to center stage, mic in hand and begins to speak. GRAMPA Hey, let me tell ya a story. so I'm hanging out with my buddy Hal Jackowictz and I'm like, hey Hal let's go get some booze and chase the chickens. fucking Hal says no, no the old battle axe at home will break my balls. I got ta get my ass home. The kids stare in shock at Grampa. Jerry begins to laugh. GRAMPA So, I tell ` im. Hal, here's the secret. Go home tonight, crawl into bed, get under the covers and eat your wife's pussy. I mean jam your face right in the bush. Jerry starts to giggle. DENISE -LRB- quietly. -RRB- What are you laughing at? JERRY I do n't know, I think he's funny. DENISE This is n't funny, it's twisted. GRAMPA So, Hal goes home, jumps in, starts chomping and licking away at her pussy, she's screaming and howling. totally passes out from the experience. MARY Dear God, let this end. GRAMPA Now, Hal. He's feeling pretty good, so he goes into the bathroom for a quick shave. -LRB- pauses. -RRB-. suddenly he lets out a horrible scream. Ahhhhhhhhhhhhhh! The recorded crowd chuckles. GRAMPA Sitting there on the toilet is Hal's wife Gloria. and she says, `` Quiet down, you'll wake Grandma!'' The recorded crowd screams with laughter, as does Jerry. Bill, Denise and Mary look at him like he's crazy. GRAMPA Thank you, you're too kind, too kind. stay in your seats, coming up next we got something special for you men out there. The curtains close and the stage goes dark. DENISE Shit, I'm all for being a sport, but this is ridiculous. BILL -LRB- looking at his watch. -RRB- Man, it's already ten thirty. MARY I'm with Denise, ca n't we just walk to someplace, this is getting fucking stupid. JERRY Negative. Shit, we are so deep in the sticks we could walk for hours and find zero. BILL Yeah, I'd say at this point all we can do is just wait it out. There's nothing else. DENISE I suppose. I mean they're obviously all bonkers, but I guess they're harmless. MARY I fucking hope so. The stage lights come up. The recorded applause and music begin. Baby enters the stage. She is dressed in a home - made showgirl outfit. She begins to dance clumsily to the music. She appears to be somewhat intoxicated. The vocals come on and Baby begins to lipsync to the song. DENISE You got ta be kidding me. This chick is wasted. JERRY Shhhhhh. MARY How much is a person supposed to stand? BILL -LRB- motioning for Mary to keep her voice down. -RRB- Quiet. MARY -LRB- sarcastically. -RRB- Oh, I'm sorry, bothering you? Was I disturbing your viewing pleasure? Baby makes her way down from stage on to floor level. She gyrates and seductively TEASES one of the dummy audience members. Baby moves over to Jerry. Stroking her hand down his face. Denise tries to look amused. Jerry smiles uncomfortably. Baby strolls past Denise and stops in front of Mary. Baby pauses and pinches Mary's cheek and winks. Mary is FURIOUS. Baby moves over to Bill. Mary watches like a mother hawk. Baby sings and dances with all of her attention focused on Bill. Baby puts her arms around Bill's neck and sits on his lap. Mary BOLTS FORWARD and SHOVES Baby off of Bill. Baby crashes onto the floor. MARY Take that, you fucking slut! -LRB- Mary spits at Baby. -RRB- Fucking redneck whore! BABY You should n't a done that. MARY Why? You gon na do something about it? BABY -LRB- standing up. -RRB- Yeah, I'll do something. Baby takes out a straight razor from behind her back. BABY I'll cut your fucking tits off and shove'em down your throat. MOTHER Baby! Stop! Mrs. Firefly runs down from her position behind the spotlight and intercedes. BABY Come on, ma. this bitch's got it coming. MOTHER No, I told you. SCREECH! The garage door slides open. Rufus has returned. RUFUS JR. -LRB- interrupting. -RRB- Car's done. DENISE Thank God. MOTHER I suggest you kids leave now. MARY Do n't worry, I'm gone.", "EXT. FARMHOUSE - NIGHT Bill, Jerry, Denise and Mary climb back into their car. BILL Do n't look back, just get in the car. DENISE Lock the fucking doors.", "INT. CAR - NIGHT Bill begins to pull the car down the long dirt driveway towards the road. The heavy rain makes visibility difficult. BILL -LRB- straining to see through the darkness. -RRB- Almost there. JERRY Jesus, you think she was really gon na cut you? MARY -LRB- leaning her forehead on the window. -RRB- Of course she was gon na cut me, she's a fucking nut. -LRB- closes her eyes and takes a breath. -RRB- I knew she was crazy from the second we picked her up. SLAM! Suddenly, Baby pounds her fist against Mary's window. Mary jumps back in terror. BABY -LRB- screaming. -RRB- You're in Hell, bitch! You're gon na die like a dog! Baby disappears into the darkness. MARY Go! Go! Go! Get us out of here! Bill pulls the car up to the front gate. It is chained shut with a huge padlock. LIGHTNING CRASHES, illuminating the crucified scarecrows. FLASH CLOSE - UP CUTS - of grinning jack - o - lantern faces peer down from above.", "INT. CAR - NIGHT Bill opens the car door, starts to get out. MARY -LRB- hysterical. -RRB- What are you doing! BILL I got ta open the gate. MARY Drive through it! BILL It wo n't work. JERRY Holy fuck, hurry up. Jerry, Mary and Denise watch through the windshield as Bill struggles to unlatch the thick iron gates. SUDDENLY, one of the SCARECROWS JUMPS down from his cross and SMASHES Bill over the head with a HEAVY CLUB. Bill drops to his knees. MARY Bill! Help him! Jerry throws open his door to get out. He's SHOVED BACK into the car by another, larger scarecrow outside his door. This scarecrow begins smashing the car's windows with a METAL PIPE. Bill lays motionless, face down in the mud. His attacker turns his attention on the car. He also begins smashing the car's windows.", "EXT. CAR - NIGHT From a distance we see Jerry pulled from the car and beaten. The girls are helplessly trapped inside the destroyed vehicle. The scarecrows continue to pound on the car. As we fade out, the sound of a BARKING DOG can be heard.", "EXT. FARMHOUSE - MAGIC From a long shot, we see the farmhouse in the early morning sunrise. All is still. The sound of an engine starting breaks the early morning silence. Rufus's tow truck is seen pulling away from behind the house. The BEATEN REMAINS of Bill's car are towed behind it.", "EXT. WILLIS HOUSE - SUNRISE Darkness, except for the face of an alarm clock. The time is 7:00 AM. TICK, TICK, TICK. BUZZZZZZ. The alarm goes off. A hand reaches over and turns off the alarm. We hear a deep groan. A light turns on.", "INT. WILLIS'S LIVING ROOM - MORNING Don Willis wakes up, having fallen asleep in his easy chair. He sits up and wipes the sleep from his eyes. He runs a hand across his head, smoothing out his thinning grey hair. He picks up a phone next to his bed, dials a number, waits. MR. WILLIS Hi. Lieutenant Broekman please. Donald Willis. He holds. MR. WILLIS Hey, Phil. -LRB- listens. -RRB- Yeah, I'm alright. but I need you to check on something for me. Willis stands, walks to the window, opens the shades, morning sun fills the room. shelf by the window is cluttered with framed photographs. B+W memories of Denise at the beach, RUDY the dog. High school graduations and Donald Willis in uniform with the other members of 56 Precinct. Donald is a FORMER POLICE OFFICER. MR. WILLIS I'm a little worried about Denise. She called me last night from the road, out by Ruggsville at some joint called Spaulding's or something like that, said she'd be here about eleven. but she never showed up. Paces. MR. WILLIS Yeah, if you could run a check on up that way and see about any accidents or road closing or anything, I'd really appreciate it. -LRB- listening. -RRB-. yeah, yeah, I know. I'm sure nothing happened but, you know me I like to worry. thanks. bye. Hangs up the phone.", "INT. FARMHOUSE - OTIS'S ROOM - DAY Mary opens her eyes, squinting into the light. Sunlight peers through filth on the windows, fractured by the tattered remains of rotted curtains. Peeling yellowed newspaper serves as wallpaper surrounding the window. Mary's eyes move across the walls to a painting of a BIG EYED KITTEN. She stares at it and smiles. A look of horror begins to appear on her face. She begins to scream uncontrollably. OTIS -LRB- off screen. -RRB- Shut your fucking mouth! She is hysterical. OTIS I said shut your mouth! ZOOM BACK to see Mary wearing a dunce cap, tied to a chair, facing a corner in the farmhouse's attic. This is Otis's art studio. Otis, standing before a large canvas, sets down his paint brush and calmly walks over to Mary. He spins her chair around, clamps her mouth shut with his hand and leans his nose against hers. OTIS -LRB- slow and sinister. -RRB- Listen, you Malibu Barbie middle class piece of shit. I'm trying to work, you got me, work. you ever work? Mary's eyes scream with terror, she nods yes. OTIS Yeah, I'll bet you did. Scooping ice cream to your shitheel friends on summer break. well, I ai n't talking about white socks with Mickey Mouse on one side and Donald Duck on the other. shit, you ai n't reading no funny books, mamma. Otis raises his paint covered hand. OTIS This is blood and guts, Suzy Q. Our bodies come and go, but this blood is forever. -LRB- pulls a small book from his breast pocket. -RRB-. let me read you something, listen and learn. you listening? Otis pulls back his hand, ready to backhand her across the face with the book. She nods again. He lowers the book. OTIS -LRB- gesturing dramatically. -RRB- And the angels, all pallid and wan, Uprising, unveiling, affirm That the play is the tragedy `` Man'' And its hero the Conqueror Worm. -LRB- pauses. -RRB-. you get that? Art is eternal, you get me, mamma? Mary stares dumbfounded. OTIS Now, I'm gon na remove my hand. you make a sound and I swear I'll slit you open and make you eat your own fucking intestines. you get me? She nods again. He slowly removes his hand from her mouth. Mary tries to remain calm, but starts to hyperventilate. Tears roll down her face. MARY -LRB- whispering. -RRB- Why? Why are you doing this? OTIS Doing what? Messy up your day? Well, fuck lady there are some bigger issues at hand. than your fucking have a nice fucking day bumper sticker shit! MARY Where's Bill? OTIS -LRB- chuckling. -RRB- Well, Bill. he's a good guy, he's been great help to me. a real blessing. I could n't have asked for a better specimen. I mean you do n't know what a dry spell I've had, total block. -LRB- slaps his forehead. -RRB-. total block. but Bill he's OK. Mary looks confused, but relieved. MARY -LRB- softly. -RRB- Where is he? OTIS Let's go see. Otis grabs the back of the chair and drags her across the room towards a curtained off area. Whoosh! He pulls her through the curtains. From behind the curtain we hear Mary SCREAMING and Otis LAUGHING. MARY -LRB- behind curtain. -RRB- Bill? No, no, no! What have you done? Bill!", "INT. CURTAIN ROOM - OTIS'S ROOM - DAY Ugliness. Decay. Pain. Carefully arranged on a model's platform is the severed torso of Bill sewn to a large homemade fish tail. He is lying on his ride side posing. Bill's face is frozen in a death scream. OTIS Behold. The Fish - Boy! MARY -LRB- repeating to herself. -RRB- This ca n't be real, this ca n't be real, this ca n't be real. OTIS Oh, it's real. as real as I want it to be, mamma. -LRB- grabs his canvas and holds it in her face. -RRB-. look, see the magic in my brush strokes. Painted on the canvas is the gruesome scene of Bill as the Fish - Boy. MARY -LRB- crying. -RRB- Fuck you, you fucking freak! OTIS Oh, come now. we're all creatures of God and freaks in our own way. -LRB- twitches and shakes. -RRB-. but if you'll notice. -LRB- points to a blank spot in the painting. -RRB- right here, needs a little something, heh? Otis slowly puts down the canvas, turns and picks up a huge hunting knife. MARY What are you doing? -LRB- squirming. -RRB-. no, stop. please, please. OTIS You, my dear worm feeder, are about to become immortalized. Otis draws back the knife. MARY -LRB- screaming. -RRB- Noooooooooooo! Otis swings the knife forward, directly into the camera. CLOSE UP - CLOWN FACE Ravelli's clown head bobs back and forth. Ravelli, wearing his clown head, stands by the road side waving to passing cars.", "EXT. SPAULDING'S - DAY A police car drives past Ravelli and comes to a stop. OFFICER GEORGE WYDELL, 42, a big, slightly paunchy man with a big mustache and mirrored sunglasses, steps from his car. Following close behind, OFFICER STEVE NAISH, 29, tall athletic. WYDELL -LRB- pauses, looks around, pulls up his belt. -RRB- Well, let's go see if the nut that runs this place can help us. NAISH Right. They walk to the door.", "INT. SPAULDING'S - DAY The door swings open. Wydell enters slowly, putting on his best cowboy attitude. Naish follows suit. Wydell, hands on his belt, struts up to the counter. No one is around. A rusted bell sits on the counter, taped to it is a handwritten note, `` ring for service''. Wydell rings it once, waits, no response. Rings it again, waits, no response. NAISH -LRB- looking around the room. -RRB- Get a load of all this crap. this is one sick place. Wydell begins ringing the bell non - stop. Spaulding shouts from the backroom. CAPT. SPAULDING Whoever's a jerking off on that bell better be gone when I get out there.'cause I'm gon na rip your nuts off. Spaulding enters from behind the curtain, angry. He sees the troopers and puts on a phony grin. CAPT. SPAULDING Officers, officers what can I do for you today? I ai n't fried up the birds yet. if that's what you're ring a ding dinging about. WYDELL -LRB- pulls a paper from his pocket. -RRB- What I need are some answers. -LRB- unfolds the paper to reveal a picture of Denise. -RRB- CAPT. SPAULDING Well, I'll try but I do n't know nothing ` bout nobody. I'm a guy who likes to mind his own business, if ya get what I'm saying. WYDELL -LRB- holds up picture. -RRB- You seen this girl? Say. within the last 24 hours. Spaulding reaches out and grabs the picture. CAPT. SPAULDING -LRB- studies the picture. -RRB- Yeah, yeah I seen her. Good looking kid, but not really my type. -LRB- gesturing with his hands. -RRB-. I like meaty, eh? NAISH -LRB- losing patience. -RRB- Hey ass clown, how ` bout some answers. He ai n't interested in your love life. WYDELL Come on, get with the facts. CAPT. SPAULDING Hmmmmmmmmm? WYDELL What'd you see, who was she with, where were they going? CAPT. SPAULDING Aw, she was with some nosey, smartass high - rise kids. They were poking around. asking stupid questions. NAISH Questions about what? CAPT. SPAULDING This and that, mostly some tired Dr. Satan bullshit. they got a gander at the display back there and thought they could solve the great Deadwoods mystery. WYDELL And. CAPT. SPAULDING And I gave'em directions out there, up by the old farm row. I figured what's the harm. Stupid kids probably going out to piss up a rope and got themselves turned around backasswards and got lost as shit. WYDELL Is that all. think real hard. CAPT. SPAULDING Yeah, they were n't here but a few minutes, did n't really have time to get as up close and personal as I do with most of the assholes that wander through here. WYDELL How's about you give me those same directions. CAPT. SPAULDING Yeah, yeah, sure. You do n't have to get all True Grit all over my ass. I'll give'm to ya. you can knock yourself silly for all I care. WYDELL -LRB- hands him a note pad. -RRB- Enough talk, write.", "INT. TOW TRUCK - DAY We are cruising down the road. A bobbing head skeleton toy glued to the dashboard wiggles with each bump in the road. Behind the wheel is Rufus Jr., riding shotgun is Baby, dressed in her Sunday best. The radio is blasting. BABY -LRB- screaming over the music. -RRB- We're gon na have fun tonight, bro. RUFUS JR. Yeah, fun. They speed off.", "EXT. CHERRYPICKER RD. - WOODS - MIDDAY The police cruiser maneuvers down the rough dirt road.", "INT. POLICE CAR - MIDDAY Wydell and Naish scan the surrounding woods for any sign of Denise and her friends. NAISH Boss, the way I see it is these kids probally stop off somewhere, bought a bunch of booze and are off getting shitfaced. WYDELL I hope you're right, but my guts are telling me different. NAISH Your Spidey senses tingling. WYDELL Yeah. -LRB- realizes what he just said. -RRB-. huh, what the hell are you talking about? NAISH You know, your hyper sensitive Spidey senses. like Spider - man. -LRB- pauses. -RRB-. you know, like in the comics. WYDELL How old do you think I am? I know who the fuck Spider - man is. Get to your point. NAISH You know, his senses start tingling. when he was approaching danger and shit. WYDELL I always favored the Hulk. NAISH Hulk was dumb as shit. WYDELL Aw, fuck. NAISH What.", "EXT. CHERRYPICKER RD. - WOODS - MIDDAY Bill's car is down in a ditch, run off the side of the road.", "INT. POLICE CAR - MIDDAY Naish checks the license plate number with his sheet. NAISH Plates match. WYDELL Call the chief. We found'em.", "EXT. PINK PUSSY CAT LIQUORS - MIDDAY A small, crummy liquor store stands next to a sleazy motel. A filthy looking hooker leads her customer to a waiting room, a homeless bum stands screaming obscenities in the parking lot.", "INT. PINK PUSSY CAT LIQUORS - MIDDAY The store is decorated for Halloween. Off to one side is a curtained room. A sign reads `` XXX 8mm loops'', sex noises can be heard inside. Baby and Rufus stand at the counter waiting for the CASHIER, a skinny geek with glasses, to total up their purchases. The counter is loaded with bottles. The cashier is packing the bottles into cardboard boxes. CASHIER You all having a Halloween party tonight? BABY Now, what makes you think that? CASHIER You all sure are buying a lot of holy water for two people. BABY Yeah, well we like to get fucked up and do fucked up shit, you know what I mean? CASHIER Yeah, yeah. -LRB- giggling. -RRB-. I like to fuck shit up. BABY I'll bet you do. how much we owe ya. -LRB- looks at his name tag. -RRB-. Goober? CASHIER -LRB- looking down at his tag. -RRB- Actually it's G. Ober. Gerry Ober, but the guys drew in the other O, fucking assholes. BABY -LRB- uninterested. -RRB- Great story Goober, how much? CASHIER Ummmm. two hundred and eighty - five dollars. Baby throws down three hundred dollars. BABY Keep the change and get yourself a new name. CASHIER Holy crap, thanks! Rufus picks up the boxes from the counter. He and Baby start to walk away. BABY Come on, bro. Let's go. CASHIER -LRB- holding out a flyer. -RRB- Hey, wait take this. Baby stops and grabs the flyer. BABY What's this? CASHIER A missing girl. I use ` ta go to school with her, she just up and disappeared some day. real weird. The flyer reads MISSING, KAREN MURPHY, 18. The picture on the flyer shows the smiling chubby face of a young girl. BABY Now is n't she a happy little cherub. oh well. -LRB- stuffs it in her pocket. -RRB-. nobody just up and disappears. RUFUS JR. -LRB- mutters. -RRB- Aliens. BABY Yeah, maybe it was fucking aliens.", "EXT. PINK PUSSY CAT LIQUOR - MIDDAY Baby and Rufus exit. Rufus loads the boxes into the back of the truck. Baby sits on the curb and lights a cigarette.", "EXT. CHERRYPICKER ROAD - WOODS - MIDDAY Bill's car is now sitting in the middle of the road. The back is attached to a police tow truck. An additional police cruiser arrives on the scene. Sheriff Huston steps out from his cruiser. HUSTON What'd we here, Georgie? WYDELL A vehicle registered to a William S. Hudley. HUSTON Holy Jesus, somebody had themselves a field day beating the shit outta this thing. WYDELL Yeah, no mercy here. HUSTON Recover any bodies? WYDELL Not yet. HUSTON -LRB- inspecting the car. -RRB- Shit, I wonder what these kids did to bring this much hell down on'em. WYDELL Just in the wrong place at the wrong time. HUSTON That's the understatement of the year. WYDELL Yep, I suppose it is.", "INT. BILL'S CAR - WOODS - MIDDAY Naish is digging around under the front seat. NAISH Hey, I found something. Naish crawls out of the car.", "EXT. CHERRYPICKER ROAD - WOODS - MIDDAY HUSTON What'd ya got there? NAISH Keys. HUSTON Well Christ boy, do n't stand there like a prize dog dick with his butthole caught up a tree. NAISH Huh? HUSTON Open up the trunk. NAISH Yes, sir. WYDELL Toss'em over here. Naish tosses them over the car to Wydell. Wydell fishes through the keys, finds the trunk key and opens it. WYDELL -LRB- winces. -RRB- God damn. HUSTON You find something, Georgie? WYDELL -LRB- disgusted. -RRB- Yep, I found something. We move around the car to see the nude body of Karen Murphy laying in the trunk. Her arms and legs are hog tied. She is dead. The word TRICK is carved into her side.", "INT. FARMHOUSE BASEMENT - TINY'S ROOM - LATE AFTERNOON Water drips down from the leaking pipes above. Scavenging rats scurry across the concrete floor. In a far corner a single light burns, a child's Humpty Dumpty lamp, illuminating - Denise is strapped to an old wooden bed. She has been stripped of her own clothes and is now wearing a blue checked little girl's dress. Her hair is tied in pigtails. She is cold and shivering. BOOM. The basement door opens, heavy footsteps lumber down the creaking stairs. It is Tiny. Tiny is wearing an orange T - shirt that reads, `` This is my Halloween costume''. For the first time we see the skin on his arms, it is severely deformed from burn scars. He is holding a small tray. On the tray is a box of cereal, milk, a bowl and a spoon. Tiny goes over to Denise, sets down the tray, and proudly displays his T - shirt. DENISE -LRB- hoarse and dry. -RRB- Please. Tiny, please. Let me go. help me. Tiny sits down on a stool next to the bed, he stares down at Denise like a confused dog. DENISE -LRB- crying. -RRB- Please, God please. Tiny begins preparing her food, carefully pouring the cereal and milk into the bowl. He stirs it with the spoon. Tiny gently lifts Denise's head and feeds her like a baby. Denise swallows the food, trying not to choke. After a few spoonfuls Tiny stands up and walks over to a dark corner of the room. He pulls a string and turns on a swinging ceiling light. In the light we see a rusty cage, inside are three rail - thin female bodies. Tiny throws the remainder of the cereal into the cage. One of the bodies moves to eat the scraps, the others do not. They are dead. Tiny turns off the overhead light.", "INT. POLICE CAR - LATE AFTERNOON Wydell and Naish are pulling into a large truck stop parking lot. NAISH You sure this guy's supposed to ride with us? Seems kind of weird. WYDELL -LRB- scanning the parking lot. -RRB- Chief said pick him up and take him with us on our house to house. Guy's an ex - cop, thinks he can help. NAISH Sounds like a bad idea to me, probally just get in the way. WYDELL Yeah, well I guess it's tough to sit on the sidelines and wait when your own kid's missing. besides, ai n't no such thing as an ex - cop. NAISH I guess not. WYDELL That must be him.", "EXT. GAS STATION - LATE AFTERNOON A rundown gas station sits off to the side of the road. A filthy mechanic works on one of the many junked cars. Two fat greasy men sit in the hot sun playing cards. A Chevy Nova sits parked next to the station. Willis leans against the side of the car, drinking coffee from a styrofoam cup. A police cruiser pulls up. Wydell and Naish step from the car. WYDELL Mr. Willis? MR. WILLIS Yes, sir. WYDELL I'm Wydell. this is Naish. Wydell extends his hand, they shake hands. NAISH Hey. MR. WILLIS George Willis. -LRB- to Wydell. -RRB-. any leads? WYDELL Well, we were on our way out to run a check on a couple farmhouses out on the edge of town. closest thing we got to a lead at this point. MR. WILLIS That's it? WYDELL Well, all we know is the kids were headed out to a spot the locals call Deadwood to play Nancy Drew with some local legend about this character everybody calls Dr. Satan. MR. WILLIS Dr. Satan? NAISH Yeah it's horseshit, just some boogieman crap that the kids like to scare each other with. WYDELL Anyway, there's not much else out that way. so, I figure maybe there's a chance the kids broke down and found their way over to one of the farms. MR. WILLIS What about the body you found? WYDELL -LRB- slightly surprised. -RRB- Oh, yeah, you know about that? Hmmm, that's a strange one. NAISH Local girl, Karen Murphy, been missing for a couple months, figured for a runaway. MR. WILLIS Fit the profile? NAISH No, not really. Good kid, never been in any trouble. WYDELL Her part in this I ca n't figure. but I will. MR. WILLIS -LRB- wipes his brow. -RRB- Christ, you know it's crazy. -LRB- gets choked up. -RRB- I lived through so many other people's nightmares, you know. Always cool and calm, but. but I never thought I'd be the one needing help, ya know? NAISH Do n't worry, we'll find her. WYDELL Let's hit the road, sooner we get a move on sooner we'll find her. Willis dumps out the remaining coffee, tosses the cup into the trash and opens the back door of the police car. He gets inside. Wydell and Naish climb in. The car drives off.", "INT. FARMHOUSE - OTIS'S ROOM - LATE AFTERNOON THUMP! CLOSE UP on a bloody, bandaged face. THUMP! As we pull back to see Jerry, completely bandaged like a mummy, strapped to a wall. His arms and legs are spread. THUMP! Knives stick in the wall next to the body. GRAMPA -LRB- off screen. -RRB- God damn bitch, what the fuck are you waiting for. Charles Nelson Reilly do n't know shit. We pull back further to see Otis pacing wildly back and forth in front of his TV, watching MATCH GAME. Grampa sits eating a TV dinner. OTIS -LRB- gesturing at the TV with a knife. -RRB- Watch that bitch, she's thinking about that Klugman bangin' Brett Sommers, pick motherfucking Richard Dawson. Otis throws the large hunting knife at the wall next to Jerry. OTIS He's the fucking slick jack Match Game man, mamma. GRAMPA Where do they find these people?", "INT. POLICE CRUISER - LATE AFTERNOON MR. WILLIS Christ, four kids could n't just disappear. NAISH No they could n't, somebody had to see something. MR. WILLIS My Denise is a smart girl, she would n't do anything stupid, and her boyfriend, he always seemed like a good kid. WYDELL I'm sure there's a logical explanation. MR. WILLIS I pray to God there is. NAISH Turn up this road. MR. WILLIS Where we headed? WYDELL I seem to remember another farm set way back off the road where the car was found. I'm not sure if anyone lives there anymore, but it's worth a look.", "EXT. FARMHOUSE - LATE AFTERNOON Wydell's cruiser turns up the road to the Firefly farmhouse. It moves past the scarecrows and comes to a halt. The doors swing open and Wydell, Naish and Willis get out. WYDELL I'm gon na see if anybody's home. You and Mr. Willis take a look around the grounds for any sign of anything. NAISH Right. -LRB- to Willis. -RRB-. come on. Naish and Willis head off around the back of the house.", "INT. FARMHOUSE - KITCHEN - LATE AFTERNOON Dirty dishes overflow from the rusty metal sink onto the surrounding counters. A large cat walks across piles of food left to rot on a table. Boxes of trash and old newspapers are stacked to the ceiling. Music from a crackling radio is heard. Mother stands stirring a large pot on the stove. A LOUD knocking interrupts her cooking. She sets down her spoon and walks to the front door. Before opening the door she peeks through the curtains of a small side window. She sees Wydell and runs from the kitchen.", "EXT. FARMHOUSE - LATE AFTERNOON Wydell walks up the front steps.", "INT. FARMHOUSE - HALLWAY - LATE AFTERNOON Mother runs toward a door at the end of the hall. She swings open the door.", "INT. FARMHOUSE - OTIS'S ROOM - LATE AFTERNOON Mother bursts into the room. MOTHER Otis! Otis! Come quick, there's cops outside. OTIS What! God damn, how many? GRAMPA -LRB- watching TV. -RRB- What? How many? OTIS Do n't worry about it. Otis jumps up and goes over to an old dresser and opens a drawer and pulls out an automatic revolver. MOTHER I do n't know. I only saw one. OTIS I'm sure there's more than that. fucking pigs always travel in packs. -LRB- handing the gun to Mother. -RRB-. here, take this. MOTHER -LRB- takes the gun. -RRB- What should I do? OTIS Go down stairs and play nice. I'm a gon na go ` round back and handle things like I always fucking do.", "EXT. FARMHOUSE - SAME Naish and Willis move through the cluttered back yard of garbage. NAISH Shit, do n't these packrat hillbillies throw anything away? MR. WILLIS Shhhh. you hear that? The soft sound of moaning can be heard. NAISH Yeah, I hear it. where's it coming from? MR. WILLIS Over here, inside the smokehouse. Naish and Willis stand in front of a brick smokehouse. The thick door is chained shut. NAISH -LRB- knocking on door. -RRB- Anybody in there? The moaning gets louder. MR. WILLIS We got ta break it open. NAISH I ai n't got a warrant. Willis picks up a broken axe handle and begins prying open the door. MR. WILLIS Tell it to my daughter. NAISH -LRB- grabbing hold to help. -RRB- Shit. fuck procedure. Together they struggle to open the door.", "INT. FARMHOUSE - SAME Mother slowly opens the front door. The revolver is behind her back, tucked in her apron strings. MOTHER -LRB- trying to be sexy. -RRB- Well hello, officer. WYDELL -LRB- holding up his badge. -RRB- Excuse me, I'm sorry for disturbing you this fine afternoon. MOTHER Aw, you ai n't disturbing me, but it kind of looks like rain, do n't ya think? WYDELL My name is Lt. Wydell, I'd like to ask you a few questions. MOTHER Questions? Well, heck, I'll tell you anything you want to know. WYDELL I appreciate your cooperation. I'm looking for a missing girl. -LRB- holds up picture. -RRB-. this girl here, Denise Willis. have you seen her? MOTHER Well, I. mmmmm. no, I ai n't seen her, sorry. She begins to close the door. Wydell stops her. WYDELL Please, could I please come in and talk to you for a minute? Maybe you could take a better look at the picture. might stir up something. MOTHER I um. no, I do n't think so. WYDELL Please, just a minute. MOTHER Oh, alright. I guess I can trust you. being a man of the law and all. She opens the door. WYDELL Thank you. MOTHER Oh, you are very welcome. Lord knows how I love a man in uniform. She closes the door.", "EXT. FARMHOUSE - SAME Naish and Willis bust open the door to the smokehouse. Hanging upside down inside is Mary. She hangs from ropes strapped to the ceiling. Large hunks of meat hang around her in the cramped room. NAISH Jesus Christ. MR. WILLIS Call Wydell.", "INT. FARMHOUSE - SAME Wydell and Mother sit opposite eachother at the kitchen table. Pictures of Denise and her companions are spread on the table. Wydell takes notes as Mother talks. WYDELL Think. do any of these kids look familiar in any way? MOTHER No, I ca n't say that I ever seen'em before. -LRB- points to the photo of Bill. -RRB-. he looks familiar, is he on TV? Suddenly, Naish's voice comes over Wydell's walkie - talkie. NAISH Wydell. WYDELL Excuse me for a second. Pulls walkie - talkie from his belt to respond. WYDELL Over. NAISH We found one. Click. Mother points the gun at Wydell's head and fires. He falls dead to the floor.", "EXT. FARMHOUSE - SAME Naish hears the commotion over his walkie - talkie. NAISH -LRB- into walkie - talkie. -RRB- Wydell! Over! Wydell! Over! No response. NAISH Fuck, go to the car. call for backup. Tell'em officer down. MR. WILLIS Right. Willis runs to the car, he gets about halfway there before he is hit in the back by a bullet. He stumbles and falls to his knees. He kneels silent, stunned. We hold on his face and watch as his life passes before him. A quick MONTAGE, we see the following images flash by : A. A father and daughter together in happier times. B. A child's birthday party. C. A baby crying. D. Willis and his deceased wife. Otis fires another shot. Willis falls forward into the mud, dead. Naish sees Willis fall. Before he can react a voice calls out from behind him. OTIS Hands up, bitch! Naish raises his hands. OTIS Turn around, real slow. piggy - pie. Naish turns around. OTIS Interlock your fingers behind your head. -LRB- Naish hesitates. -RRB-. do it! Naish obeys. OTIS Kneel. Naish kneels down. From a distance we see Otis standing over Naish, execution style. A white puff of smoke comes from Otis's gun and a distant popping sound is heard. Naish falls over on his side. The scene fades to blood red.", "EXT. FARMHOUSE - NIGHT The house stands silent in the darkness. Lightning crashes, a heavy rain falls. Burning JACK - O' - LANTERNS beam from every window. Smoke rises from the chimney. It is Halloween night.", "INT. FARMHOUSE - NIGHT CLOSE - UP TV Dr. Wolfenstein is on screen smashing pumpkins with a giant hammer. DR. WOLFENSTEIN It is midnight my little boils and ghouls, the witching hour. Time for all monsters, murderers, maniacs and madmen to go to work. so lock your doors and bolt your windows, sit back and prepare for a fright night classic. -LRB- lightning crashes. -RRB-. The House of Frankenstein. The movie begins and we move off the TV to see : Hundreds of CANDLES are lit, illuminating everything with a flickering light. Music blares from a cheap stereo. BLACK and ORANGE PAPER STREAMERS are draped from ceiling to floor. Dead center is a LARGE OBJECT standing seven feet tall, it is completely covered in paper Halloween decorations. A long chain connects the object up into the rafters. This is the Halloween party from Hell. An intoxicated Grampa, dressed as FLASH GORDON, sits in his wheelchair watching the TV, drinking MOONSHINE from an unmarked bottle. GRAMPA -LRB- slurred drunken yelling at the screen. -RRB- Get those motherfucker. those high water bitches and rocketship daisies. kill'em, kill'em. CRASH! CRASH! CRASH! Tiny stands in a corner tunelessly banging on a large oil drum. He is dressed like a low budget BATMAN, in grey long johns and a black bat mask and cape. A drunk Rufus, wearing a bloody police uniform, stands on a table SHOUTING along to the music through a POLICE MEGAPHONE. Mother and Baby, both dressed as SUPERHEROES, dance around the covered object. Both are swigging moonshine from jugs. RUFUS JR. -LRB- shouting through megaphone. -RRB- Show me, show me, show me, show me! Mother and Baby start TEARING AWAY the paper covering from the object in the middle of the room. They RIP at the paper, spinning and dancing around in a wild pagan ritual. As the shreds of colored paper fall to the floor we see : Denise, Jerry and Mary tied back to back hanging from the chain, each are dressed in a different animal costume. Denise is a pig, Jerry is a donkey and Mary is a rabbit. They are gagged. Mother and Baby laugh at their helpless victims, splashing moonshine in their faces. BABY Drink up, it's party time. MOTHER Enjoy your last night. -LRB- looking around. -RRB-. where's Otis? BABY Oh, he's coming, he got something real special this year. Rufus jumps down, begins to spin the bound captives around and around. RUFUS JR. Otis, Otis, Otis, Otis! MOTHER Quiet, quiet, you know he wo n't come down with all this hoop - dee - doo bouncing off the walls. Now, calm down. GRAMPA I shot an elephant in my pajamas this morning. how he got in my pajamas I'll never know. BABY Grampa, shhhhhhhh. GRAMPA Then we tried to remove the tusks, but they were embedded in so firmly that we could n't budge'em. MOTHER -LRB- gesturing at Grampa. -RRB- Let him finish. GRAMPA Of course, in Alabama the Tuscaloosa, but that's entirely irrelephant. The room goes silent. All eyes are focused on the stairs. A robed figure, Otis, appears at the top of the stairs, he begins to descend. Rufus waits at the bottom of the stairs. As Otis reaches the last step Rufus hands him the megaphone. Denise, Mary and Jerry struggle to watch as they in turn rotate past the scene unfolding. OTIS -LRB- through the megaphone. -RRB- I'm the one who brings the Christmas candy. now tell me. -LRB- pauses and raises his arms. -RRB-. Who's your Daddy? Otis walks closer to the rotating captives. OTIS I'm the one who brings the devil's brandy. -LRB- waits. -RRB- MOTHER Who's your Daddy! OTIS Yes! I'm the one who beats you when you're bad. BABY Who's your Daddy! MOTHER Who's your Daddy! Otis stops the spinning of his prisoners and stands directly before Denise. He drops his robe, underneath he is wearing a SUIT OF SKIN sewn together from pieces of Denise's father. Denise stares in horror, tears stream down her cheeks, barely able to comprehend the madness around her. Otis moves in close and licks her across the face. OTIS I'm the one who loves you when you're fucking dead! Everyone chants `` Who's your Daddy?'' OTIS -LRB- imitating Willis. -RRB- Now, I say my little darlings. -LRB- rotates the chain to Mary. -RRB- maybe prancing around where you do n't belong ai n't such a winner of an idea. -LRB- slaps Mary across the face. -RRB- Slowly turns the chain to face Jerry. OTIS And you, the great rusher of fools, what were you after. -LRB- slaps Jerry. -RRB- Huh, speak to me. -LRB- slaps him again. -RRB- Oh, that's right, Dr. Satan. everybody got to know about Dr. Satan, Jesus Christ, let the old dog rest for fuck sake, he's already got one foot in the grave and the other's tap dancing around the edge. -LRB- gets nose to nose with Jerry. -RRB-. well, I can see the disappointment on your sad little puppy face. so I'm gon na do you a favor, a big, big favor. You owe me, boy. I'm gon na let you meet the old bastard. GRAMPA That's a horse's ass alright, I told you. Jerry's eyes widen in fear. OTIS Baby, roll that old love machine over here, so this boy can meet his hero. Baby rolls Grampa over to Jerry. OTIS -LRB- lifts his skin mask. -RRB- You see it's all true, the boogieman is real and you found him. -LRB- Jerry stares in shock. -RRB-. why so sad? Is n't this what you begged for? There he is, the living legend himself, ta da Dr. Satan. Now, do n't get shy on me. ask your hero some questions, do n't blow this last in a lifetime opportunity. GRAMPA Zarkoff, I will conquer the sea, the air, the earth. the universe. Mother moves in close to Jerry. MOTHER Look at the way he lights up. Grampa just loves meeting his fans. Otis grabs Jerry's cheeks and makes his face move like a ventriloquist dummy, provides Jerry's voice. OTIS Aw gee whiz, I'm so excited. I really think you're the coolest. you're tops on the playground, cooler than the Fonzie. Baby grabs Mary and does the same ventriloquist routine. BABY Oh, oh pick me, pick me. I have a question. Baby rotates Mary around to where Gramps is seated. BABY -LRB- squeezing Mary's face, hard. -RRB- I was wondering Mr. Satan sir, do you like to kiss on the first date or is that considered slutty? GRAMPA What the fuck are you saying? Who the hell is talking to me? Tiny, growing restless, begins banging on his metal drum. KLANG - KLANG - KLANG. Rufus joins in, clapping his hands. MOTHER Come on, my babies are getting restless. RUFUS JR. Dump in the pit, dump in the pit, dump in the pit. Mother, Baby, Grampa join in chanting with Rufus. OTIS Alright, alright. Cut'em down, it's time they get what they came here for.", "EXT. FIELD - NIGHT The rain pounds down. A heavy fog hovers over the dense growth of the field. In the distance, silhouetted by moonlight, a gruesome caravan slowly moves through the night. Otis, lantern in hand, leads the way. Followed by Baby and Mother together under a large black umbrella. Next Rufus holds the leash connected to Jerry, Denise and Mary. Bringing up the rear, Tiny, shotgun focused on the prisoners, and Grampa. Grampa is strapped to Tiny's back like a child. He waves a flashlight back and forth like a search beam. The group comes to a halt at a huge wooden structure. OTIS -LRB- handing Baby the lantern. -RRB- Hold this. Point it over here. Baby directs the light at Otis. We see that he is trying to unlock a huge padlock attached to an iron door embedded in the base of the wooden structure. Otis unlocks the door and swings it open. He reaches down into the blackness and pulls up an iron hook and wench, attached to the hook is a chain. Otis parts a section of the overgrown grass next to the pit to reveal a rusty metal crank. He begins to turn the crank. Slowly, from out of the pit, rises a coffin hanging from the end of the chain. Otis pulls the coffin over and lays it flat on the ground. He flips open the lid. OTIS Hey happy - boy, step your ass up here. Rufus cuts loose Jerry, but holds him steady by the neck. BABY Take his gag out, it's more fun with the screaming. MOTHER Yeah, I like the screaming too. it's so much more exciting. Rufus cuts loose the gag. JERRY Please do n't kill us, please do n't kill us. BABY -LRB- imitating Jerry. -RRB- Please do n't kill us, please do n't kill us. OTIS Bitch, shut your mouth and get your shit in the box. JERRY Let us go, please. let the girls go. BABY -LRB- imitating Jerry. -RRB- Let us go, please. let the girls go. Otis pulls out a gun and points it at Jerry. OTIS Get in. now! MOTHER Wait, I want to say good - bye. Mother grabs Jerry by the collar and gives him a big kiss. MOTHER Bye sweety, we could of been great together. JERRY Please, let us go, we wo n't tell anybody. MOTHER Aw, honey you know I ca n't do that. BABY We wo n't tell anybody. Otis cocks the pistol. Jerry starts to slowly move towards the coffin. OTIS Christ, ai n't this fucking a hoot. alright mamma, I ai n't got all fucking night. JERRY Please, please this is insane. You ca n't do this. Rufus pushes Jerry into the coffin. OTIS It is and I can. next. Denise starts kicking and fighting with Rufus. Rufus tries to hold her steady, when suddenly Mary breaks free and starts to run. OTIS -LRB- laughs and raises his pistol. -RRB- Where's she think she's a gon na get to? She's gon na run all the way home. BABY No! Let me get her. -LRB- turns to Mother. -RRB-. Ma, Otis is having all the fun. can I get her? MOTHER That's true, Otis. not that we're having a bad time, but. OTIS -LRB- rolls his eyes. -RRB- Well, go get her. Baby jumps with excitement and runs off across the field after Mary. Mary trips and falls over a small gravestone. She gets up and stumbles back into a wooden cross. She tears the gag from her mouth and gasps for air. BABY -LRB- O.S. -RRB- There once was a woman who lived with her daughter in a cabbage garden. Mary turns toward the voice but sees nothing but wooden crosses. She is in a homemade cemetery. BABY -LRB- O.S. -RRB- along came a rabbit and ate up all the cabbages. The woman said. Mary turns 360 degrees, but finds nothing. BABY -LRB- O.S. -RRB- `` Go into the garden and drive out the rabbit''. THUD! Mary is hit from behind, she falls forward. Baby JUMPS on top of her and sits on her back. Baby is holding a large hunting knife. BABY `` Shoo! Shoo!'' said the maiden. Mary screams in pain, as Baby PLUNGES the knife into her. Baby STABS Mary again and again and again. Mary lets out a long gurgling scream, then goes silent. BABY `` Come maiden,'' said the rabbit. -LRB- leans down. -RRB-. sit on my tail and go with me to my rabbit hutch. Baby, covered in blood, licks the knife clean.", "EXT. PIT - NIGHT Otis shoves Denise into the coffin with Jerry and locks the lid shut. Through a CROSS - SHAPED OPENING in the coffin we see them crushed together. Rufus LOWERS the coffin into the pit. Once the coffin is inside Otis slams the door shut. Otis opens a small window in the door and lowers in a lantern and a small tape recorder playing music.", "INT. PIT - NIGHT Enter Hell. The dim light of the lantern shines off the slimy wet filth of the rotted wood walls. The stench of death and decay hangs heavy in the thin air. Denise and Jerry, cold and shivering, hang half submerged in thick maggot infested sludge. Bits of animal and human skeletons float in the muck, broken bones lay in piles along the walls.", "INT. COFFIN - NIGHT Through the dim light, we see the tightly packed forms of Jerry and Denise. DENISE -LRB- hysterical. -RRB- We've got get out of here, we got get out of here. JERRY Think, think. Try to open the lid, try to kick a hole in the wood. DENISE -LRB- crying. -RRB- I ca n't. I ca n't move my arms. I hurt so much. JERRY I know, but we can make it out of here. We can do it. Boom! A LOUD THUMP is heard against the side of the coffin. JERRY That was good babe, just keep doing that. BOOM, BOOM, BOOM. DENISE That's not me. I did n't. I'm not doing that. JERRY Someone is out there. -LRB- shouting. -RRB-. help, we're in here! DENISE Help, help us. Suddenly, an arm breaks through the side of the coffin. Another smashes through the top of the lid. The coffin begins to violently shake. Denise screams. Another reaches through, grabbing her feet. SMASH! The coffin is ripped apart and Jerry is pulled away from the destruction. He lets out a quick scream before disappearing into the darkness. DENISE Jerry! Jerry! Jerry!", "INT. FARMHOUSE - LIVINGROOM - NIGHT The spastic light of TV static strobes across the sleeping face of Grampa. Beside him, Mother sleeps peacefully.", "EXT. BARN - NIGHT The rain has stopped. Tiny opens the doors to the barn. He goes inside. He exits a few moments later, dragging a huge wooden stake. He sets the stake down carefully and closes the barn doors. He then picks up the stake and drags it away.", "EXT. BACKYARD - NIGHT Behind the farmhouse is a camouflage jungle, an intricate system of ropes and netting is strung together to hide the many automobiles beneath. Rufus moves through the jungle. He stops and begins to remove the netting from a car, it is Wydell's police cruiser. He climbs inside the car, puts on Wydell's policeman's hat and starts the engine. He drives off.", "INT. POLICE CAR - NIGHT Rufus is driving like a maniac through the open farmland. He turns on the overhead flashing lights.", "EXT. FIELDS - NIGHT The police cruiser twists and turns in the barren fields.", "INT. PIT - NIGHT Denise stands knee deep in the sludge. Broken bits of the coffin's remains are scattered around her. DENISE Jerry please answer me. A soft moaning sound is heard coming from the other end of the pit. DENISE Jerry. -LRB- moving slowly forward. -RRB-. is that you? Denise cautiously makes her way to the bend at the end of the tunnel. As she approaches, the moaning sound gets louder. She turns the corner to see : TWO PALE FIGURES in filthy hospital gowns hunched over a shadowy object. Denise gasps. They turn towards Denise, revealing the partially devoured dead body of Jerry. The two bone - white ghouls are dripping with Jerry's blood, they stare at Denise, then return to their prey. Denise screams in horror and runs, turning down another twist in the underground maze. She turns the corner and runs straight into SEVERAL SLOW MOVING GHOULS. The ghouls are of the same deathly white complexion, hair - less with flaked, cracking skin. Their yellow eyes shine in the darkness. They reach for her, but she breaks free and continues to run into the endless stretch of tunnels before her.", "EXT. GRAVEYARD - NIGHT Primitive wooden crosses form a circle around a burnt piece of land, approximately twenty feet in diameter. Laying flat in the center is the large stake, Mary's body is draped across it. Tiny is securing her to the stake with rope.", "INT. POLICE CAR - NIGHT Through the windshield, we see Baby jumping and dancing in the fields with several large dogs. She is firing a gun as she dances.", "EXT. FIELD - NIGHT Baby sees the car and raises her gun. She aims it at the car driver. She waits, as the car gets closer she sees the face of Rufus behind the wheel. She lowers the gun and begins to laugh. The car stops and Baby climbs into the passenger's seat. The car drives off.", "EXT. GRAVEYARD - NIGHT Tiny lifts the stake with Mary firmly strapped in place. He implants it into the ground. Her body hangs like a doll. Tiny opens a gasoline can and begins splashing gas onto the stake.", "EXT. FIELD - NIGHT Otis, face painted like a SKULL and wearing a priest's robe, walks solemnly through the tall grass.", "INT. PIT - NIGHT Denise, waist high in sludge, wanders lost through the endless tunnels of the pit. In the distance she hears high pitched animal sounds. A GHOUL rises up from the sludge behind Denise. It stands silent. It reaches out a BONEY HAND with long curled fingernails and grabs her hair. Denise screams and tries to pull away. The ghoul grabs her with his other hand and pulls her closer, CLAWING at her face. Denise fights her way free, but loses her footing and falls backwards, slipping under the sludge. She quickly resurfaces and starts to run.", "EXT. GRAVEYARD - NIGHT Otis stands in front of the bound Mary, holding a pumpkin. Otis places the pumpkin over Mary's head. Tiny stands behind him holding a lit torch.", "EXT. FIELD - NIGHT The police car drives wildly through the fields.", "INT. POLICE CAR - NIGHT Baby motions to Rufus to steer the car towards the fire.", "INT. PIT - NIGHT A beaten Denise struggles down a long tunnel. She gets to the end to find that it is a dead - end. Behind her, FIVE GHOULS move silently towards her, blocking her only exit. The ghouls slosh through the muck, moving in closer. Denise frantically looks for an escape, nailed into the wall next to her are planks of wood forming a ladder. The ghouls are only a few yards away. Denise climbs up the ladder. They move in, clawing at her legs and feet, trying to pull her down. Denise digs at the wood and mud ceiling above her, trying to break free. Denise is bleeding severely from the chunks of flesh being torn from her legs. She digs wildly at the ceiling, suddenly a board falls free and mud rains down to reveal : STARS, the sky above shines through the hole. Denise smashes her fists at the rotted wood planks, pulling free another piece. With all her might Denise grabs hold and pulls herself up through the opening.", "EXT. PIT - NIGHT Denise fights her way through the earth and pulls her body up into the night air. The cool air rushes to her lungs. She crawls free of the hole, gasping for air. She is safe. Suddenly. SMASH! A ghoul has broken through the surface. He grabs Denise by the leg and begins to pull her back into the hole. Denise screams and begins kicking violently at the ghoul. She breaks and crawls from the ghoul's reach.", "EXT. GRAVEYARD - NIGHT Rufus and Baby have pulled the police cruiser up by the stake. Rufus and Baby stand on the hood. Otis finishes his sermon, he raises his arm. Tiny raises the torch. Otis drops his arm, signaling Tiny. Tiny throws the torch onto the stake. The stake ignites into a huge FIREBALL.", "EXT. FIELD - NIGHT Denise pulls herself to her feet and begins to run. The flaming object burns in the distance behind her. Denise stumbles toward the road on two badly injured legs.", "EXT. GRAVEYARD - NIGHT Rufus, Tiny and Baby jump up and down in celebration, smashing the police car. Otis stands transfixed by the flames before him.", "EXT. ROAD - NIGHT Denise makes her way out onto the road. No cars are in sight. In the distance headlights break through the darkness. Denise stands in the middle of the road. The TRUCK comes into view, it is a small cube truck. Denise stands in the headlights, waving her arms for it to stop. The truck comes to a halt. She runs toward the passenger's side door and climbs in.", "INT. TRUCK - NIGHT Behind the wheel of the truck is Captain Spaulding. Denise is shaking from shock. DENISE Go, go! Drive. drive! CAPT. SPAULDING Hold on, girly, what's the problem? DENISE -LRB- becoming hysterical. -RRB- Murdering. blood and Jerry. -LRB- starts to cry uncontrollably. -RRB-. monsters. I. I. I got away. CAPT. SPAULDING Well, I do n't see what the fuck you're getting at, but I got some friends that live just up this road. Starts to turn the truck up the road back towards the farmhouse. DENISE -LRB- screaming. -RRB- No! No, that's it. that house is. -LRB- tries to open the truck door. -RRB-. I got ta get out, I got ta get out! Boom! The metal door leading to the back of the truck slides open. Ravelli grabs Denise and pulls her back into the back of the truck. SLAM! The metal door shuts.", "EXT. ROAD - NIGHT The truck quietly turns onto the dirt road leading up to the farmhouse. The jack - o' - lanterns still burn in the windows, grinning their evil grin. THE END" ]

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[ "EXT. UNION STATION, WASHINGTON, D.C. DAY LONG SHOT THE CAPITOL DOME IN THE B.G. AND THE AUTOMOBILE ENTRANCE TO THE STATION IN THE F.G. LOW CAMERA Activity of cars and taxis arriving and discharging passengers with luggage, busy redcaps, etcetera. We FOCUS on a taxi pulling up and stopping, The driver hands out modest looking luggage, including a bunch of tennis rackets in cases to a redcap. CAMERA PANS DOWN as the passenger gets out of the taxi so that we see only his shoes and the lower part of his trousers. He is wearing dark colored brogues and a conservative suit apparently. The feet move toward, the entrance to the station and out of scene. Immediately a chauffeur - driven limousine drives up and an expensive place of airplane luggage is handed out of this, and the passenger alighting from the back is seen to be wearing black and white sport shoes which, as before, are all we see of him. The sport shoes start off in the wake of the brogues.", "INT. STATION LOBBY CAMERA FOLLOWS the sport shoes and the brogues across the lobby into a passenger tunnel. There is the usual activity of passengers walking to and from, a loud - speaker announcing trains, etc..", "EXT. PASSENGER TUNNEL As the brogues and the sport shoes emerge to the train platform, CAMERA PANS them over to the steps of the train.", "INT. TRAIN The brogues and the sport shoes pass separately down the aisle, the sport shoes turning in at a compartment door and the brogues continuing toward the parlor car.", "INT. PARLOR CAR (PROCESS) The brogues come to rest before a chair as the owner sits down. A moment later the sport shoes come to rest. before in adjoining chair. The legs belonging to the sport shoes stretch out, and one of the shoes touches one of the brogues. MAN'S VOICE -LRB- over scene. -RRB- Oh, excuse Me! CAMERA PULLS BACK AND UP to SHOW two young men seated in two parlor car chairs. BRUN0 ANTHONY, the wearer of the sport shoes, is about twenty - five. He wears his expensive clothes with the tweedy nonchalance of a young man who has always had the best. The wearer of the brogues is a fine looking but, at the moment, a somewhat troubled young man. This is GUY HAINES. He, too, is in his middle twenties and is well dressed because he can now afford to be. He nods politely, acknowledging Bruno's apology, then turns away with the gesture implying he wants privacy. BRUNO -LRB- smiling with sudden recognition. -RRB- I beg your pardon, but are n't you Guy Haines. Guy nods with a polite half smile. Being a well known tournament tennis player, he has had this sort of experience before. BRUNO -LRB- snapping his finger. -RRB- Sure! I saw you blast Faraday right off the court in South Orange last season. What a backhand! Made the semi - finals, did n't you? Guy acknowledges this with a modest nod and turns to his magazine rolled up in is fist. BRUNO -LRB- with open admiration. -RRB- I certainly admire people who do things. -LRB- smiling and introducing himself. -RRB- I'm Bruno Anthony. Bruno. See Guy looks up. Bruno indicates his gold tie pin which bears his name in cut - out letters. Guy looks at it with the faintest expression of disdain. I suppose you think it's corny. But my mother gave it to me so of course I wear it to please her. GUY -LRB- patiently. -RRB- -LRB- a faint smile. -RRB- How do you do. BRUNO -LRB- with an apologetic grin. -RRB- I do n't usually talk so much. Go Ahead and read. GUY -LRB- wryly. -RRB- Thanks. Guy tries to read but is uneasily aware of Bruno's open appraisal. BRUNO It must be pretty exciting to be so important. GUY -LRB- fidgeting slightly. -RRB- A tennis player is n't so important. BRUNO People who do things are important. I never seem to do anything. Not knowing how to answer this, Guy looks a little embarrassed. BRUNO -LRB- still insistent on being friendly. -RRB- I suppose you're going to Southampton - for the doubles. GUY -LRB- politely. -RRB- You are a tennis fan. Bruno is inordinately pleased by this small tribute. BRUNO Wish I could see you play. But I've got to be back in Washington tomorrow. I live in Arlington, you know. He has taken out a cigarette case. Holds it out to Guy. BRUNO Cigarette? GUY Not now, thanks. I do n't smoke much. BRUNO I smoke too much. He fumbles for a match. Guy brings out a lighter and hands it to Bruno. BRUNO Thanks. -LRB- he stares at the lighter, impressed. -RRB- Elegant. CLOSE SHOT OF THE LIGHTER Showing that it has the insignia of crossed rackets embossed on it, and underneath is engraved the inscription : `` To G from A''. BRUNO'S VOICE -LRB- reading. -RRB- To G from A. Bet I can guess who A is. WIDER SHOT Guy reacts sharply. GUY -LRB- coldly. -RRB- Yes? BRUNO Anne Burton. Sometimes I turn the sport page and look at the society news. And the pictures. She's very beautiful, Senator Burton's daughter. GUY You're quite a reader, Mr. Anthony. BRUNO Yes, I am. Ask me anything, from today's stock reports to Li'l Abner, and I got the answer. Even news about people I do n't know. Like who'd like to marry whom when his wife gets her divorce. GUY -LRB- sharply. -RRB- Perhaps you read too much. BRUNO -LRB- contritely. -RRB- There I go again. Too friendly. I meet someone I' like and open my yap too wide. I'm sorry. At the appeal on Bruno's face, Guy slowly relents. GUY That's all right. Forget it. I guess I'm pretty jumpy. Bruno smiles with and signals a waiter. BRUNO There's a new cure for that. -LRB- to waiter. -RRB- Scotch and plain water. A pair. Double. -LRB- to Guy with a chuckle. -RRB- Only kind of doubles I play. GUY You'll have to drink both of them. BRUNO -LRB- grinning. -RRB- And I can do it. -LRB- moving in. -RRB- When's the wedding? GUY What? BRUNO The wedding. You and Anne Burton. -LRB- a gesture of explanation. -RRB- It was in the papers. GUY It should n't have been. Unless they've legalized bigamy overnight. BRUNO I have a theory about that. I'd like to tell you about it some time. But right now I suppose divorce Is still the simplest operation. The waiter has brought the drinks. Bruno slips the lighter into hip pocket to free his hands for the bills which he gives to the waiter, waving away the change. He offers a glass to Guy. Guy takes it. GUY -LRB- as if he needs it. -RRB- I guess I will. BRUNO -LRB- happily. -RRB- This is wonderful - having your company all the way to New York. GUY -LRB- forced to explain. -RRB- As a matter of fact, I'm not going direct. I'm stopping off. At Metcalf. BRUNO Metcalf? What would anybody want to go there for? GUY It's my home town. BRUNO Oh, I get it! A little talk with your wife to about the divorce! I suppose she was the girl next door. Held her hand in high school and before you knew it - hooked! -LRB- proud of his perspicacity. -RRB- Am I right? GUY -LRB- laconically. -RRB- Close enough. BRUNO -LRB- raises his glass. -RRB- Well, here's luck, Guy. Drink up - then we'll have some lunch sent to my compartment. GUY Thanks very much. But I think I'll go to the dining car. -LRB- he hails a waiter who is passing through with a food - laden tray. -RRB- Do you know if there are any vacant seats in the dining car now? WAITER Not for about twenty minutes I'm afraid, Sir. BRUNO -LRB- pleased. -RRB- See? You'll have to lunch with me. -LRB- motions the waiter back. -RRB- Say, waiter, bring me some lamb chops and French fries and chocolate ice cream, Compartment D, Car 121. -LRB- turns to Guy. -RRB- What'll you have, Guy? GUY Thanks just the same, but I really do n't think - BRUNO Oh, go on and order. The waiter is hovering impatiently. Guy gives in out of embarrassment. GUY Well, I'll Just have a hamburger and a cup of coffee. BRUNO -LRB- delighted, lifts his glass in another toast. -RRB- To the next Mrs. Haines. Guy nods curtly.", "INT. BRUNO'S COMPARTMENT ON TRAIN (PROCESS) Bruno and Guy are finishing lunch. Bruno has been drinking and his eyes are bright and feverish. An almost empty liquor bottle is near a couple of detective novels covered with gaudily Illustrated dust jackets. Bruno has in unlighted cigarette in his mouth. Guy's lighter is on the table. Bruno snaps it a couple of times, as though fascinated, lights his cigarette and puts the lighter on the table again. BRUNO Sure, I went to college. Three of them. Every time they kicked me out my father threw me back in. -LRB- bitterly. -RRB- He finally gave up. He thinks I'm awfully small fry, not worth the bait. -LRB- wistfully. -RRB- You my friend, Guy? GUY Sure. I'm your friend, Bruno. BRUNO -LRB- a little woozy. -RRB- No, you're not, nobody thinks I'm anything special. Only my mother. -LRB- empties the bottle into his glass. -RRB- My father hates me. Guy smiles this off as nonsense. GUY You must be imagining things. BRUNO -LRB- hitting the bottom of the bottle for the last drop. -RRB- And I hate him. He thinks I ought to catch the eight - five bus every morning, punch a timeclock and work my way up selling paint or something. Him - with all his money! GUY -LRB- amused by Bruno. -RRB- Well, what do you want to do? BRUNO You mean before or after I kill him? GUY -LRB- chuckling. -RRB- Before, of course. BRUNO -LRB- leaning forward eagerly. -RRB- I want to do everything. I got a theory you're supposed to do everything before you die. Have you ever driven a car, blindfolded, at a hundred and fifty miles an hour? GUY Not lately. BRUNO I did. I flew in a jet plans too. -LRB- his hand traces a swift streak through the air, and he adds sound effects. -RRB- Zzzzzzzp! Man, that's a thrill! Almost blow the sawdust out of my head. I'm going to make a reservation on the first rocket to the moon. GUY -LRB- amused and curious. -RRB- What are you trying prove? BRUNO I'm not like you, Guy. You're lucky. You're smart. Marrying the boss's daughter is a nice short cut to a career, is n't it? GUY -LRB- quickly. -RRB- Marrying the senator's daughter has nothing to do with it. Ca n't a fellow look past a tennis not without being a goldbricker? BRUNO Take it easy, boy. I'm your friend, remember? I'd do anything for you. GUY -LRB- humoring Bruno. -RRB- Sure, Bruno, sure. -LRB- glancing at his watch. -RRB- We'll be pulling in soon. I've got to change trains. BRUNO What'd you say her name was - your wife's? GUY Miriam. BRUNO That's it. Miriam Joyce Haines. Played around a lot, I suppose? GUY Let's not talk about it any more. BRUNO -LRB- almost hopefully. -RRB- Maybe she'll make more trouble for you. GUY I do n't think so. BRUNO You mean you got enough on her to get your divorce no matter what? GUY Let's change subject, Bruno, ca n't we? BRUNO Okay, Guy. Want me to tell you one of my ideas for murdering my father? GUY -LRB- indicating the detective novels. -RRB- You've been reading too many of these. BRUNO -LRB- going right on. -RRB- You want to hear about the busted light socket in the bathroom, or the carbon monoxide in the garage? GUY No. I may be old fashioned, but I thought murder was against the law. BRUNO But not against the law of nature. My theory is that everybody is a potential murderer. Did n't you ever want to kill somebody? Say one of those useless fellows Miriam was running around with? GUY You ca n't go around killing people just because you think they're useless. BRUNO Oh, what's a life or two? Some people are bitter off dead, Guy. Take your - wife and my father, for instance. It reminds me of a wonderful idea had once. I used to put myself to sleep at night - figuring it out. Now, let's say you want to get rid of your wife. GUY Why? BRUNO Let's say she refuses to give you a divorce -. -LRB- raises a finger and stops Guy's protest. -RRB- Let's say. You'd be afraid to kill her because you'd get caught. And what would trip you up? Motive. Now here's the plan. GUY I'm afraid I have n't time to listen. BRUNO -LRB- ignoring the remark. -RRB- It's so simple, too. A couple of fellows meet accidentally, like you and me. No connection between them at all. Never saw each other before. Each of them has somebody he'd like to get rid of, but he ca n't murder the person he wants to get rid of. He'll get caught. So they swap murders. GUY Swap murders? BRUNO Each fellow does the other fellow's murder. Then there is nothing to connect them. The one who had the motive is n't there. Each fellow murders a total stranger. Like you do my murder and I do yours. GUY -LRB- with relief. -RRB- We're coming into my station. BRUNO For example, your wife, my father. Criss - cross. GUY -LRB- sharply. -RRB- What? BRUNO -LRB- with a smile. -RRB- We do talk the same language - do n't we, Guy? GUY -LRB- preparing to leave. -RRB- Sure, we talk the same language. Thanks for the lunch. BRUNO -LRB- beaming. -RRB- I'm glad you enjoyed it. I thought the lamb chops were a little overdone myself. He holds out his hand. Guy is in a hurry but he shakes hands. GUY Nice meeting you, Bruno. BRUNO -LRB- detaining him at the door. -RRB- You think my theory is okay, Guy? You like it? GUY Sure, sure, Bruno. They're all okay. -LRB- he salutes a quick goodbye and hurries away. -RRB- Left alone, Bruno picks up Guy's lighter from the table, starts to call Guy back to hand It to him.Then he looks closer at the insignia of crossed tennis rackets. BRUNO -LRB- smiling. -RRB- Criss - cross. A WIDE VIEW OF THE TOWN OF METCALF METCALF RAILROAD STATION as the train comes in. THE TRAIN STATION PLATFORM MED. SHOT As Guy gets off the with his suitcase and tennis rackets. A baggage man with baggage truck is passing. GUY Hi, Bill. BAGGAGE MAN -LRB- smiling. -RRB- Guy Haines! Good to too you, boy. You be sure to win at Southampton tomorrow, hear me? I've got two dollars on your nose. GUY -LRB- indicating his suitcase and rackets. -RRB- Then park these in a lucky spot for a few hours, will you? BAGGAGE MAN Sure thing. He loads them onto a truck.", "INT. METCALF STREET LONG SHOT Guy is walking up the main street.", "EXT. MUSIC SHOP Typical music shop of a small town, with plate glass windows and displays of radios, records, sheet music, etc.. Activity of a couple of customers and salespeople inside. Guy comes along the street and goes into the shop.", "INT. MUSIC SHOP As Guy enters. There are the usual counters and shelves, pianos and radios on display, and the sound of a piano being tuned in the back of the store. MIRIAM is finishing with a customer at a counter. MR. HARGREAVES, the manager, is busy at the shelves. Another girl clerk is serving a customer. In one of the glass cubicles where records are tried out, a customer is playing symphonic music ; in a second glass cubicle another customer is listening to a record of popular music. A third cubicle is empty. Activity of the street is seen through the plate glass front. Guy walks straight to Miriam, just as she is finishing with her woman customer, handing over a small package. MIRIAM -LRB- taking money from customer. -RRB- Even change. Thank you, Madam. -LRB- she looks up at Guy as the woman moves off. -RRB- Well - hello, Guy. GUY You're looking well, Miriam. Miriam's face is pretty because it is still young. She is self - centered and inclined to be vindictive. She wears harlequin glasses with myopic lenses which tend to make her eyes look small. MIRIAM So are you. You've got a nice tan, playing tennis with all your rich friends. GUY -LRB- ignoring the remark. -RRB- What time do we meet your lawyer? MIRIAM -LRB- sly little smile. -RRB- What's your hurry? GUY My hurry? That's funny, coming from you! You're the one who's in a hurry, are n't you? MIRIAM -LRB- coyly. -RRB- When you would n't give me the divorce right away, I sort of hoped it was because you were a little bit jealous. GUY -LRB- biting. -RRB- I got over being jealous, a long time ago Miriam. Miriam's eyes slide toward the other girl clerk who has moved closer, within listening range. MIRIAM -LRB- indicating empty glass cubicle. -RRB- Let's talk in there. Guy follows Miriam across to the empty room. Miriam has brought her purse along. They enter.", "INT. CUBICLE Once inside, the sounds of the music playing from other parts of the shop are heard but very faintly. The piano tuning still goes on, but less stridently. Miriam and Guy are cooped together in the close quarters. MIRIAM -LRB- intimately. -RRB- Now this is cosier. Sort of like old times, is n't it, Guy? GUY -LRB- coldly. -RRB- Oh, skip it, Miriam. It's pretty late to start flirting with a discarded husband. Especially when you're going to have another man's baby. MIRIAM Do you know, I think you're handsomer than ever? GUY Let's see your lawyer and get this over with. MIRIAM Did you bring the money, Guy? Lawyers are expensive. GUY -LRB- taking money from his wallet. -RRB- Here it is. MIRIAM -LRB- taking the money greedily. -RRB- If I'd known what all that tennis nonsense of yours was going to lead to, I would n't have run out on you. GUY What are you trying to say, Miriam? Come out with it. MIRIAM -LRB- tucking the bills away. -RRB- I'm not getting a divorce. GUY -LRB- tense and angry. -RRB- Why, you little doublecrosser. I did n't want this divorce, you did. That's what you've been harping about for the past year. MIRIAM It's a woman's privilege to change her mind. Now I can shop for some pretty clothes. I would n't want you to be ashamed of me in Washington when we go to all those dinners and swanky parties. GUY And what do you mean by that? MIRIAM -LRB- Coyly. -RRB- Do n't look so mad, Guy. You always smile when your picture is being taken for the papers. Especially when you have Anne Burton hanging on your arm. GUY Let's not talk about Anne Burton. MIRIAM So, it's really serious between you two? Well, you can throw your dreams about her into the ashcan. Guy, I'm coming to Washington. GUY What for? MIRIAM To have my baby and be with you. GUY Why me? It's not my baby. MIRIAM But people do n't know that, Guy, do they? It would make a pretty story, would n't it - the senator's daughter involved with a married man who's about to become a father. GUY -LRB- furiously. -RRB- You black conniving little liar! A few people in the shop look around as Guy's voice rises above the sound of the record playing. MIRIAM Keep your voice down. GUY What happened? Did he run out on you? MIRIAM No man runs out on me. Not even you. GUY You're a liar and a cheat, Miriam. You've wanted to get rid of me long enough and now I'll go you one better - I never want to see or hear of you again. MIRIAM -LRB- demurely. -RRB- I could be very pathetic as the deserted little mother in a courtroom, Guy. Think it over. Who would believe you? Guy seizes her angrily and in so doing, knocks the tone arm across the record with a loud screech. From outside we can see heads turn. Mr. Hargreaves, the manager, is very disturbed. MED. SHOT THROUGH GLASS PARTITION FROM HARGREAVES' VIEWPOINT We see Guy gripping Miriam's arms and apparently addressing her in a threatening manner, although we do not hear his words. The smile has faded from Miriam's face and something like cringing fear has taken its place. She is drawn and tense and seems to cower beneath Guy's rage. Mr. Hargreaves moves forward and opens Guy's tirade. GUY That's what should happen to people like you. And if I. HARGREAVES -LRB- interrupts. -RRB- Break it up, folks. This is n't the place for a family quarrel. GUY -LRB- his eyes blazing. -RRB- Sorry. I'm leaving. He starts to exit from the booth. Miriam grabs his arm and screams at him : MIRIAM -LRB- yelling like a fishwife. -RRB- You heard what I said, Guy Haines. You ca n't throw me away like an old shoe. I'm coming to Washington to have my baby. Tell that to the senate! Guy strides out of the store, the manager and a few customers turning around in surprise. The two customers in other booths, seeing the quarrel, open their doors simultaneously and Miriam's tirade is climaxed by a cacophony of noise, a big symphony, loud hot music, and the apparently unaware piano tuner.", "EXT. MAIN STREET METCALF SHOOTING TOWARDS STATION Guy is striding along angrily. He comes to the same intersection and the same cop. The officer makes a friendly gesture, is if he'd like to talk awhile, but Guy strides past him without noticing.", "EXT. METCALF STATION (PROCESS) Guy comes into the scene, crosses to a row of public telephone booths, enters one. Inside the telephone booth, he dumps some loose change on the shelf, sticks a nickel in the telephone, speaks into it. GUY Long distance. -LRB- a pause. -RRB- I want Washington, D. C. The number is Republic 0800. Person to person. Miss Anne Burton. Another pause, very long. Guy is very restless. He digs a cigarette out of his pocket and sticks it in his mouth, then looks through his pockets for his lighter, does n't find it. He looks puzzled, but about that time the operator speaks to him. GUY -LRB- continuing. -RRB- Right. Guy picks coins up off the shelf and drops them into the telephone, then waits. He shifts the receiver and fumbles in his other jacket pocket, then turns to the phone. GUY -LRB- tautly, into phone. -RRB- Anne, - Anne darling. Yes, I'm in Metcalf -. -LRB- gets a grip on himself. -RRB- No, everything did n't go smoothly. She does n't want a divorce, not now.", "INT. BURTON LIVING ROOM ANNE BURTON is a beautiful, high - spirited and well - bred young woman. The smile on her face his faded to anxiety as she listens over the telephone which is on the desk. ANNE -LRB- after a pause then with unpleasant realization. -RRB- Another man's child! But she ca n't do that to you, Guy - it's unbelievable - it's, it's evil! -LRB- she listens, then calmly. -RRB- Yes, I know how you must feel. -LRB- pause. -RRB- But you sound so savage. BACK TO GUY IN TELEPHONE BOOTH GUY -LRB- furiously. -RRB- Sure I sound savage. I feel savage. I'd like to break her neck! -LRB- a pause, then raising his voice. -RRB- I said I'd like to break her foul, poisonous, useless little neck! -LRB- the connection is bad and he strains to hear. -RRB- What's that? Meantime the noise of a through train has been HEARD, and the horn on a streamliner locomotive. It has come up very fast, it is now almost to the station. Guy rises his voice and yells into the telephone. His voice fights the roar of the train : GUY I SAID I COULD STRANGLE HER! The expression on his face is frenzied and suggesting that he means exactly what he is saying.", "INT. ANTHONY LIVING ROOM The scene opens on a CLOSEUP OF A MAN'S HANDS. One of them is semi - flexed and turning slowly, The other is receiving the final touches of a manicure. CAMERA PULLS BACK to reveal that these are Bruno's hands, and that, he is studying them moodily, CAMERA PULLS BACK FARTHER to reveal his mother, MRS. ANTHONY, sitting opposite him at a little table in the Anthony living room. She is working with scissors, file and nail buffer. Mrs. Anthony is a gentle, once pretty woman, whose pastel exterior harbors a tigress - like determination to protect her son, Bruno is in his robe and is unshaven. There is evidence of long established wealth in the heavy dark appointments of this room. MRS. ANTHONY Since you insisted on a manicure, dear, I do wish you'd keep your hands quiet. You're so restless lately. BRUNO -LRB- almost dreamily as he admires the free hand. -RRB- I like them to look just right. Mrs. Anthony looks up, notices his moody expression. MRS. ANTHONY Did I file them too short? BRUNO No, Ma. They look fine. Thanks. MRS. ANTHONY Then what's the matter? BRUNO I'm all right, Ma. Do n't worry about me. MRS. ANTHONY You look so Pale, dear. Are you out of vitamins? BRUNO I bought a bottle of them yesterday. A whole fifth. MRS. ANTHONY -LRB- anxiously. -RRB- But you have that ` look'. I can always tell. You have n't got into any more mischief, Bruno? He denies this with a slow, solemn shake of his head. MRS. ANTHONY I do hope you've forgotten about that silly little plan of yours? BRUNO -LRB- sharply. -RRB- Which one? MRS. ANTHONY -LRB- smiling. -RRB- About blowing up the White House? BRUNO -LRB- his eyes dancing. -RRB- I was only kidding, Ma. Besides, what would the president say? MRS. ANTHONY -LRB- laughing gaily. -RRB- You're a naughty boy, Bruno. But you can always make me laugh. -LRB- she rises. -RRB- Now get shaved, dear, before your father gets home. Bruno's fist crashes down on the little table, upsetting it, as he gets to his feet. BRUNO I'm sick and tired of bowing and scraping to the king. MRS. ANTHONY -LRB- placating him. -RRB- Now, now, Let's not lose control. Come see my painting, dear -. -LRB- she leads him toward an easel. -RRB- I do wish you'd take up painting. It's such a soothing pastime. They look at the painting. INSERT The painting is a horrible mess. Out of the violence of the pattern a man's face can be discerned, wild - eyed and distorted. We hear laughter from Bruno. BACK TO SCENE Bruno's roar of laughter puzzles Mrs. Anthony, but she is pleased to hear his good humor. He puts an arm around her. BRUNO You're wonderful, Ma! It's the old boy, all right. That's father! MRS. ANTHONY -LRB- bewildered. -RRB- It is? I was trying to paint Saint Francis. At this moment there is the sound of the front door opening. Then immediately the telephone bell rings in the hall. Bruno is instantly alert, as if he had been expecting a call. He goes toward the door to the hall, as the butler enters. BUTLER -LRB- to Bruno. -RRB- They are ready with your call to Southampton, Sir. Bruno's father MR. ANTHONY, purposefully enters the living room. He an impeccably dressed business man with an uncompromising eye. His entrance momentarily blocks Bruno's exit. MRS. ANTHONY -LRB- to her husband. -RRB- How nice that you're early, Charles. I'll tell cook. Bruno now exits into the hall, passing his father without speaking. MR. ANTHONY Just a minute, Eunice. -LRB- calls after Bruno. -RRB- Bruno! Come here! I want to talk to you and your mother.", "INT. HALL CLOSE SHOT BRUNO as he approaches the telephone. BRUNO -LRB- calls back to his father. -RRB- Sorry father. Long distance. -LRB- he picks up the telephone. -RRB- Hello. CAMERA MOVES IN TO A BIG HEAD CLOSEUP OF BRUNO at the telephone as the Voices of his mother and father can be heard from the other room. MR. ANTHONY'S VOICE Now it's hit and run driving! And you knew about it all the time! BRUNO -LRB- eagerly into phone. -RRB- Guy? -LRB- pause. -RRB- Bruno, Bruno Anthony. MR. ANTHONY'S VOICE You're going to protect him once too often. After all we do have a responsibility to society. Bruno gives a look in his father's direction, before he speaks into the telephone in a low voice. BRUNO I just wanted to ask how you made out with Miriam.", "INT. LOCKER ROOM OF TENNIS CLUB CLOSE SHOT GUY AT TELEPHONE GUY -LRB- puzzled. -RRB- What? -LRB- listens. -RRB- Metcalf? Who'd you say you were? CLOSEUP BRUNO BRUNO -LRB- sotto voce. -RRB- Bruno, Guy. Bruno Anthony. Do n't you remember? On the train. The voices of Mr. and Mrs. Anthony can still be heard in dispute as Bruno listens at phone : MRS. ANTHONY I never permit it! Bruno gives a significant look in direction of the living room as he speaks into the phone. BRUNO -LRB- softly. -RRB- Are you getting your divorce? MR. ANTHONY'S VOICE I tell you he should be sent somewhere for treatment before it's too late. BRUNO -LRB- into phone, with satisfaction. -RRB- So she double - crossed you! Are you going to see her again? The phone clicks in Bruno's ear. He looks hurt for an instant, then replaces the receiver. Bruno listens to his father off scene and his expression becomes more enigmatic. MR. ANTHONY'S VOICE I tell you, Eunice, I'm going to have that boy put away if it's the last thing I do! Bruno looks off in direction of his farther's voice with an expression which says, `` Crow while you can, you have n't much time.'' He reaches into his pocket, brings out Guy's cigarette lighter and as he flicks it on and off.", "EXT. METCALF STATION LONG SHOT DAY This is the same shot we saw when Guy arrived in Metcalf. We see the station and one of the main streets beyond the station. LONG SHOT A NEARER VIEW We see the train come around the curve. Again this is just the same angle that we used for Guy. It comes to a stop in the foreground and we see Bruno alight onto the platform. He looks about him for a moment and then strolls away in the direction of the town. He approaches the row of telephone booths.", "EXT. STATION CLOSE SHOT We see Bruno enter the small booth and start to glance through the telephone directory. INSERT TELEPHONE DIRECTORY Bruno's finger runs down the names until it stops at : Joyce, Miriam Haines. 2420 Metcalf Avenue. A RESIDENTIAL STREET IN METCALF LONG SHOT It is now much later. It is beginning to get dark, and the street lights are on. In the far distance we see a local bus approaching. MED. SHOT SHOOTING DOWN onto a small seat by a bus stop, we see Bruno with an open newspaper in front of him. It is held up as he reads it. CLOSEUP Bruno is glancing over the top of the paper. LONG SHOT From his viewpoint we see a typical frame house. The upper windows are lit as are the lower ones as well. A woman is sitting in a rocker on the front porch. This is MRS. JOYCE, Miriam's mother. She has white hair. A woman comes along the street and pauses as she gets to Mrs. Joyce. WOMAN -LRB- calls out as she passes. -RRB- Hello Mrs. Joyce. Warm, ai n't it? MRS. JOYCE That it is. WOMAN I've been reading where your son - in - law's been coming right along at tennis. MRS. JOYCE -LRB- sourly. -RRB- We do n't have any interest in tennis any more. The neighbor passes on. CLOSE UP Bruno, still glancing over the top of his paper. LONG SHOT Again from Bruno's viewpoint, we see Miriam's house. At this moment the front door swings open, emitting a long streak ot bright light. We see the silhouette of a woman emerge, followed by two other men. They're laughing and joking. Suddenly they look up the street. At this very moment the bus pulls up in front of Bruno's view, cutting off the sight of his quarry. The bus comes to a stop. CLOSE SHOT Bruno rises in alarm and moves around toward the end of the bus so that he shall not lose sight of the girl coming out of the house. SEMI - LONG SHOT From his viewpoint, the girl, whom we now see is Miriam, is running followed by the two young men. They are calling for the bus not to go - shouting, `` Hi - stop!'' Mrs. Joyce calls from the porch : MRS. JOYCE Do n't you stay out too late, Miriam. MIRIAM -LRB- calling back. -RRB- Goodnight, Mother. See you later. CLOSE UP Bruno watches Miriam. MED. SHOT Miriam comes nearer and nearer to Bruno. With her two companions she brushes past him and jumps onto the bus. THE CAMERA PANS BRUNO AFTER THEM.", "EXT. AMUSEMENT PARK LONG SHOT We see the bus pull up outside the Amusement Park, and the various passengers alight. These include Miriam nd her companions, and Bruno. LONG SHOT NEARER VIEW OF THE AMUSEMENT PARK We see the usual midway with its various concessions on each side : in the distance the Ferris wheel, Merry - go - rounds, etc., and beyond that a lake. In the foreground we see people filling in and out. MED. LONG SHOT A GROUP BY A FROZEN CUSTARD STAND This group comprises Miriam and her two boy - friends. They lick their way out of the crowd and debate between themselves where to go next. CLOSE SHOT Miriam's eye catches the attention of something off screen. SEMI - LONG SHOT From her viewpoint we see Bruno standing and casually watching her. Other people pass around and in front of him, so that he is the only immobile figure. SEMI - CLOSEUP Miriam, with a kind of coy consciousness, turns away with the others and they go on to some other concession. MED. SHOT As Bruno starts to advance in the direction of Miriam he is momentarily held up by a small boy in cowboy uniform carrying a gun and a balloon. The small boy points the gun at Bruno. SEMI - CLOSE UP The small boy pointing the gun fires it twice with a couple of ` bangs!' He then starts to move off. SEMI - CLOSE UP Bruno moves on past the boy. He casually touches the balloon with his cigarette end - it goes off with a ` pop'. CLOSE UP The small boy turns and looks with dismay at his pricked balloon, wondering what happened. SEMI - CLOSE UP Bruno moves on, pleased with himself, returning his attention to Miriam who is somewhere ahead of him. MEDIUM SHOT Miriam and her two boy - friends by the sledge hammer concession where the aim is to swing the hammer hard enough down onto its target to ring the bell and register the 100 mark. Miriam is in the foreground of the shot. The first boy steps up to try his hand. As he swings, Miriam turns and glances about her, obviously looking for Bruno. LONG SHOT FROM MIRIAM VIEWPOINT The crowds milling, but no sign of Bruno. MEDIUM SHOT The first boy having failed to ring the bell, the second stops up and slams the hammer down. CLOSE SHOT The register shooting up only to the hallway mark. CLOSE SHOT MIRIAM She looks a little disdainful and again glances around for Bruno. Looking first to her left where she sees nothing, she then looks to her right, and as she does THE CAMERA PANS to show Bruno standing right it her shoulder. Miriam gives a little start. Bruno smiles at her. With a smirk he walks over and after paying his fee, goes to take up the hammer. CLOSE UP MIRIAM She watches Bruno. CLOSE SHOT Bruno looks down at his hands. INSERT Bruno's two strong hands - as he holds them palms tilted upward and fingers curled in. CLOSE UP Bruno, as he smiles faintly, glancing across at Miriam. CLOSE UP MIRIAM She gives a faint smile in return. CLOSE SHOT With a studied movement, Bruno picks up the handle of the hammer and swings. CLOSE SHOT The register shoots up to the 100 mark and rings the bell. MEDIUM SHOT Bruno drops the hammer and glances around at Miriam again. Her two boy - friends are calling for her from a little distance. BOY'S VOICE Come On, Miriam. Come On! CLOSE SHOT MIRIAM She turns away and is lost in the crowd. MEDIUM SHOT OVER BRUNO'S SHOULDER AT MERRY - GO ROUND IN BACKGROUND Bruno turns to follow Miriam, his manner casual. As he takes a few steps, WE PAN ACROSS with him until, over his shoulder, we see a merry - go - round in the background. Miriam and the two boys are aboard and climbing onto horses. As Bruno goes toward the merry - go - round, the CAMERA MOVES UP A LITTLE with him. The merry - go - round starts to move slowly round as Bruno hops on. MEDIUM SHOT ON MERRY - GO - ROUND Bruno begins to look around for Miriam, who is apparently on the other side of the merry - go - round. He starts to thread his way through the horses which are beginning to move up and down. CAMERA FOLLOWING HIM. He passes one or two of the oncoming heads before he reaches Miriam. She is on an outside mount which is high in the air when she sees Bruno facing her. Her laughter dies for a moment and she smiles at him coyly. Bruno passes her and gets on the horse directly behind her, Miriam glancing at him as her horse comes down. MEDIUM SHOT BRUNO ON HORSE With horse's head in foreground, as it is coming toward us. SIDE VIEW MIRIAM Miriam on her horse, moving from left to right. Miriam, holding the reins, glances back with a gay laugh. SIDE VIEW BRUNO Bruno on his horse, as though he is chasing Miriam. He is a little more open now in his laughter. GROUP SHOT MIRIAM AND TWO BOYS Miriam and her boy friends begin to sing the song being played on the calliope. CLOSE UP MIRIAM As she starts to sing, she glances back. CLOSE UP BRUNO He is starting to join in the singing. MEDIUM SHOT The horses of the merry - go - round are filling the screen as they whizz by, and again we get the picture of Bruno chasing Miriam as they rush past the CAMERA, the music and tempo at a high speed.", "EXTERIOR OF BOAT LANDING ON SHORE OF ARTIFICIAL LAKE Across the water may be seen a small wooded island. Between this and the boat landing there is an artificially constructed `` Tunnel of Love''. We see Miriam and her companions approach the boat concession and CAMERA FOLLOWS THEM onto the little landing stage. CAMERA MOVES UP SLOWLY over the boy's shoulders until we get MIRIAM IN CLOSE UP. She glances back. Her expression changes to a coy smile of satisfaction as she sees : MEDIUM SHOT -LRB- FROM MIRIAM'S VIEWPOINT -RRB- Bruno is approaching the pay box. MEDIUM SHOT Miriam and her companions are escorted to a small boat with electric motor. Once they are seated the boat chugs away from the landing stage and off into the darkness. Bruno steps into the foreground and gets into the next boat which floats alongside. He, too, moves away into the darkness. ENTRANCE TO THE TUNNEL As Miriam's boat passes through, she gives another little glance over shoulder before her boat disappears into the darkness of the tunnel. After a brief moment Bruno's boat comes into the picture, and it, too, goes into the tunnel. INSIDE THE TUNNEL We see the silhouettes of the occupants of Miriam's boat on the wall of the tunnel, lit dimly from the light coming from the tunnel exit. The silhouette of Bruno in his boat, lit by the tunnel entrance, gradually approaches the other three. When the silhouettes are almost touching, we - EXIT OF THE TUNNEL It is empty. There is a sudden piercing scream from inside, followed after a second or two by protestations and giggling as Miriam's boat emerges into the light. She is pushing one of the boys away from her. MIRIAM -LRB- squealing. -RRB- George, stop it, I tell you! Their boat moves out of the picture, toward the island. Presently Bruno's boat comes smilingly following and he, too, moves on out of the picture. MEDIUM SHOT ISLAND The group of Miriam and her companions are scrambling out of their boat and moving onto the island, one of the boys trying the boat on the shore. They disappear into the Woods of the island. Again Bruno's boat comes into the picture. He steps out, lift the prow of the boat a little onto the shore. LONG SHOT ISLAND We see the amusement park lighted beyond the lake. Silhouetted in the foreground, the trees and foliage of the island. Nearby we see the silhouetted figures of Miriam and her companions move across the scene, right to left. Miriam is pushing George away from her. MIRIAM -LRB- protesting perfunctorily. -RRB- George, no! She backs away from him and the boys go on picture. Miriam goes in another direction, around, the bushes. George obviously misses her, for we hear his voice call out : GEORGE'S VOICE Miriam! Miriam backs out of the bushes until the back of her head is in CLOSEUP in the foreground of the shot. Suddenly she hears steps in back of her and turns her head toward CAMERA. Her face changes as she recognizes someone offscene. MIRIAM Oh! She gives a coy smile of recognition. CAMERA PULLS BACK to reveal the mad and shoulders of Bruno between Miriam and the camera. His hand holds Guy's lighter which he flicks on as he raises it above Miriam's face. 0f Bruno, we see only the back of his head and shoulders. BRUNO Is your name Miriam? MIRIAM -LRB- with surprise. -RRB- Why yes. How did you - We see Bruno's gloved hands dart quickly to Miriam's throat. The lighter falls down out of picture, and as Bruno's hands grip her throat, his head moves slightly to blot out Miriam's face. His head moves a bit farther until Miriam's face is nearly uncovered at the other side of the screen, and we see her glasses fall off. CLOSE SHOT Miriam's glasses hit the ground. The shadows of their struggling figures over the shot. CLOSE UP The screen is filled with one of the lenses of the glasses. They are of the diminishing type. Against the moonlit sky we see reflected, the elongated struggling figures, as though we were shooting up at them. Suddenly one of the figures falls forward. CLOSE UP Miriam's head drops into the picture by the glasses. Bruno's hand comes into the picture and picks up the glasses. One of the lenses has been broken by Miriam's fall. As we see Bruno's sport shoes move away, the CAMERA MOVES PAST MIRIAM'S HEAD until it comes to Guy's lighter pressed into the earth. CLOSE UP BRUNO Bruno glances back over his shoulder. He looks down and goes back one or two steps. CLOSE UP BRUNO'S HAND Bruno's hands retrieve the lighter from the ground. LONG SHOT ISLAND We see a full view of the island again, with the amusement park beyond. The faint noise of the calliope continues in the distance. Bruno has been lost to view. Miriam's companions are still searching for her. We hear their faint voices in the distance. VOICES Miriam! Miriam! Where are you? MEDIUM SHOT Bruno comes to the shore where his boat is moored. He gets in and is quickly chugging away. He moves calmly, matter - of - fact and not furtively. LONG SHOT LAKE Bruno's boat throbbing its way across toward the landing stage. MEDIUM SHOT LANDING STAGE There are two boats unloading. Bruno's boat is approaching. We hear a loud call from the island. Someone has found Miriam. VOICES Hey, here she is! What's the matter with her? Has she fainted? More shouts from the island cause the people at the landing stage to look back. The boatman's attention is also attracted. Suddenly, as Bruno is getting out of boat, there is a loud scream from the island. VOICE -LRB- crying out. -RRB- She is dead! OTHER VOICE -LRB- from island. -RRB- Help! Help! Bruno by this time has stopped onto the landing stage, and in company with the other people, is looking back as if to see what's wrong on the island. Then he moves away, starting off of the landing stage. The boatman turns and glances at Bruno, but quickly returns his attention to the disturbance across on the island. He hurries forward and with a couple of men passengers jumps into one of the boats. He calls to his assistant as he gets into the boat. BOATMAN Got a cop! The assistant runs off out of the pictures MEDIUM SHOT BRUNO As Bruno calmly threads his way along the midway, we hear above the noise of the various concessions, a shrill police whistle in the distance. Presently a couple of policemen comes running from direction of the main entrance and past Bruno. He glances at them over his shoulder, then strolls on toward the main entrance to the park. ENTRANCE TO AMUSEMENT PARK EXTERIOR As Bruno comes out through the turnstile, he stands for a moment on the street. At this moment a man hesitates at the curbstone. He is blind and tapping the sidewalk with his white cane. He takes one step into the roadway, then hesitates. Bruno steps forward and takes the blind man's arm. CAMERA PULLS BACK as Bruno escorts the blind man across the road. With a sweeping gesture he holds back a couple of cars to lot them pass. Once on the other side of the road, the blind man utters his thanks. BLIND MAN Thanks. He goes off. Bruno looks back toward the park, then glances down at his wristwatch. INSERT BRUNO'S WRISTWATCH The time is 9.30.", "INT. OBSERVATION CAR OF A TRAIN NIGHT Through the rear window we see the tracks rushing away from us. Seated in the foreground are Guy Haines and a rather professorial type opposite him, a bespectacled man around forty - five or fifty who is extremely drunk. MEDIUM SHOT GUY He is reading an evening newspaper. CLOSE SHOT The feet opposite Guy stretch out and touch Guy's feet. CLOSEUP GUY He lowers his paper and looks across. MED. SHOT The drunk opposite Guy looks down at his feet and then up to Guy resentfully as though Guy had kicked him. He eyes Guy up and down, then suddenly, without warning, bursts into song, to the tune of the Barber Shop Chord. COLLINS There was a man, now please take note. There was a man who had a goat. He loved that goat, Indeed he did. He loved that goat, just like a kid. -LRB- He stops singing abruptly and addresses Guy. -RRB- What is your opinion? GUY -LRB- amused. -RRB- You'll never make the Metropolitan. COLLINS -LRB- fuzzily - pumping Guy's hand. -RRB- Name's Collins. On sabbatical - Delaware Tech. Glad to meet you. I jus' gave a speech in New York. On integration. In the differential calculus a function is given and its differential is obtained. Understand? GUY -LRB- solemnly. -RRB- Sure, I understand. COLLINS -LRB- resentfully. -RRB- Y ` do? Again he bursts into loud song. LONG SHOT WASHINGTON EXTERIOR ABOUT 1 A.M. MOONLIGHT A solitary taxi is seen driving past the Capitol Building. The taxi comes to a side street and stops outside a small apartment house. MED. SHOT Guy gets out of the taxi with his rackets and bag, pays the driver and goes up the steps to the front door of his apartment. CLOSE SHOT As Guy is about to enter the front door and we see his name posted on a small card as one of the several tenants, he hears a soft call from across the street. VOICE -LRB- softly. -RRB- Guy! Guy turns his head and looks across the street. MED. LONG SHOT -LRB- FROM GUY'S VIEWPOINT -RRB- We see a small space between two houses across the street. Out of the darkness the voice repeats. VOICE Over here, Guy. MED. SHOT GUY He turns, and with a slightly bewildered and wary expression, goes out of the picture to cross the street. MED. SHOT Guy reaches the other side of the street and still puzzled and cautious, approaches the dark alleyway. MED. SHOT After a moment a figure steps out of the darkness. It is Bruno. He steps back into the darkness again as Guy comes up to him. TWO SHOT Guy frowning in puzzlement as he looks at Bruno. BRUNO -LRB- cheerfully. -RRB- Hello, Guy. GUY -LRB- recognizes Bruno - not pleased. -RRB- What are you doing here? At this time of night? BRUNO -LRB- a little sadly. -RRB- You do n't seem very pleased to see me, Guy. Guy stands without answering. BRUNO -LRB- pleased again. -RRB- I brought you a little present. GUY What do you mean? Bruno's hand comes out of his pocket and he hands Miriam's glasses to Guy. INSERT Guy's hands taking Miriam's glasses from Bruno. One of the lenses is broken. TWO SHOT As Guy takes the glasses he looks at Bruno in bewilderment. GUY What's this all about? BRUNO Recognize them? CLOSEUP GUY He looks down at the glasses, mystified. He looks up again to Bruno. CLOSEUP BRUNO BRUNO It was very quick, Guy. She was n't hurt in any way. It was all over in no time. CLOSEUP GUY He is horrified. He looks swiftly down at the glasses in his hand, then back to Bruno. BRUNO'S VOICE -LRB- bragging. -RRB- I know you'd be surprised. Nothing for us to worry about. Nobody saw me, only Miriam. TWO SHOT Guy can hardly believe what he is hearing. BRUNO I was very careful. Even when I dropped your lighter there, I went right back to it up. If It'd been found, it would have ruined our whole scheme, would n't it? GUY Are you trying to tell me you've - Why, you maniac! BRUNO -LRB- looks at Guy with astonishment. -RRB- But, Guy, you wanted it! We planned it on the train together, remember? Guy suddenly starts to go. Bruno grabs his arm. BRUNO Where are you going? GUY Where do you think I'm going? I'm going to call the police, of course. BRUNO But you ca n't, Guy. We'd both be arrested for murder. Guy turns back slowly and faces him. GUY We'd both be arrested for murder? BRUNO You're is much in it as I am. We planned it together. Criss - cross. I do your murder - GUY -LRB- suddenly angry. -RRB- You crazy fool! You think you can get away with that? BRUNO -LRB- a little hurt. -RRB- Oh, come now, Guy. Why should I go to Metcalf and kill a total stranger, unless it was part of the plan and you were in on it? You're the one that benefits, Guy. You're a free man. I did n't even know the girl. Guy makes a move to leave, but Bruno holds on tight. GUY Let me go, Bruno. I had nothing to do with this and the police will believe me. BRUNO -LRB- concerned. -RRB- If you go to the police now, you'll just be turning yourself in as in accessory. You see, you have the motive. At this moment both turn at a sound across the street. LONG SHOT -LRB- FROM THEIR VIEWPOINT -RRB- We hear the sound of a telephone ringing in Guy's apartment. The top of one of his windows is open. BRUNO What is it? GUY My telephone. BRUNO -LRB- amused. -RRB- Someone has some news for you, Guy. Guy still stares across the street. LONG SHOT -LRB- FROM HIS VIEWPOINT -RRB- We see a police car pull up outside Guy's apartment. TWO SHOT Bruno pulls Guy back further into the shadows. Guy instinctively flattens himself against the wall. He looks across the street again. LONG SHOT -LRB- FROM HIS VIEWPOINT -RRB- We see the two policemen go into his apartment building. TWO SHOT Guy is still flattened against the wall to keep out of light. BRUNO Tell them you know about it already, Guy. CLOSEUP GUY He looks across at the police, then down at himself with some surprise and disgust, then over at Bruno, suddenly conscious he is behaving like a criminal and that Bruno is responsible for his predicament. GUY -LRB- muttering. -RRB- You've got me acting, like a criminal, you crazy fool! Bruno for a moment looks menacingly at Guy. BRUNO Do n't you call me that. Bruno's flare of anger dies. They both look again across the street. LONG SHOT -LRB- FROM THEIR VIEWPOINT -RRB- The two policemen come out of the house, get into their car and drive off. Guy's telephone is still ringing. TWO SHOT BRUNO You must be tired, Guy. I know I am. I've sure had a strenuous evening. Guy looks at him, almost numb. BRUNO Now look, Guy, about my father. I have the plans made. Two plans. A plan of the grounds and a plan of the house. I have in old Luger I bought at a pawn shop in San Francisco. My father - Guy turns and starts to move in across the street. TWO SHOT Bruno follows Guy and we FOLLOW them across the street. CAMERA ON THEIR BACKS. Guy strides ahead to the house. BRUNO Wait a minute, Guy. To have to talk. We have to arrange things. Guy turns at the door to his apartment building. GUY -LRB- furiously. -RRB- Get away before I give you what you gave Miriam. BRUNO -LRB- sadly. -RRB- You're not yourself, Guy. You're tired. When you think things over, you'll see I'm right. Tomorrow - Guy opens his door, turns on Bruno. GUY -LRB- with finality. -RRB- I do n't know you. I never saw you before. I never want to see you again. He goes in and slams the door in Bruno's face. BRUNO -LRB- to the closed door. -RRB- But we have to - He realizes there is no use in trying to talk to Guy any further. He turns and faces the CAMERA IN CLOSE UP as he moves away, looking sad almost to the point of tears.", "INT. GUY'S APARTMENT Guy is standing at the telephone which is still ringing. He has Miriam's glasses in his hand. He looks down at them for a moment, then picks up the receiver. He hesitates, then speaks into the phone. GUY -LRB- hoarsely, into phone. -RRB- Yes? -LRB- Pause. -RRB- Yes, Anne. I'm sorry, darling. I just got in. -LRB- pause. -RRB- Of course I'm all right. -LRB- forcing his voice to sound normal. -RRB- But you sound upset. Is anything wrong? -LRB- Pause. -RRB- All right. I'll come over. Right away. He hangs up but keeps his hand on the telephone, deliberating. He starts to dial, then suddenly hangs up and starts out.", "EXT. A RESIDENTIAL STREET, WASHINGTON LONG SHOT NIGHT A taxi drives up and stops in front of a handsome residence. It is the Burton home. Guy gets out of the taxi and goes up the steps. MED. SHOT OVER GUY'S SHOULDER His figure tense, he rings the bell. After a moment's wait, the door is opened from inside and Anne Burton stands in the lighted hallway. She looks at Guy with an anxious, taut expression, searches his face hastily, then as he takes a step inside she is suddenly in his arms. They embrace with wordless fervor. GUY -LRB- holding her close. -RRB- Anne darling, you're trembling. Anne draws back and looks into his face as if searching for an answer to some question in her mind. ANNE Guy -. -LRB- her fingers gently touch his face. -RRB- I wonder if you know how much I love you. Guy takes her hand from hIs face, caresses it with his lips. GUY -LRB- forcing a smile. -RRB- Brazen woman. I'm the one to say that. ANNE -LRB- tensely. -RRB- But I wanted you to know, before. -LRB- forcing herself to be calm. -RRB- Before we go into the living room. Father wants to see you. CLOSEUP GUY He looks apprehensively in direction of the living room, conscious of what the news is to be, but covering up. LONG SHOT LIVING ROOM FROM GUY'S VIEWPOINT SENATOR BURTON and BARBARA BURTON are seated near a desk on the farthest side of the room. Senator Burton is a distinguished fifty, a man with great pride in tradition, his family and his career. Barbara, Anne's younger sister, is a lively seventeen who loves excitement, says exactly what she thinks and rarely thinks before she says it. Superficially, in height and figure, she resembles Miriam. She also weirs glasses. By her gestures we gather she is speaking urgently, but softly, to her father, who lifts a weary hand to quiet her as she looks toward Guy in the hallway, Barbara keeps quiet and also looks toward Guy. They both wait for him to enter. CLOSEUP GUY He steels himself for the long walk across the hall and the living room. CLOSEUP ANNE Watching Guy closely. MED. SHOT As Guy starts to make the long trek across the living room, with Anne behind him - GUY -LRB- stiffly. -RRB- Good evening, sir. Hello, Babs. Barbara has been squirming in her seat, then as if jet propelled she catapults out of it and runs to Guy, giving him a big hug and a smack on the cheek. BARBARA Something awful has happened, Guy. SENATOR -LRB- firmly. -RRB- Sit down, Barbara. Subdued, she sits down. But Guy remains standing. SENATOR -LRB- finding it difficult to begin. -RRB- There seems to be no way of diplomatically breaking tragic news. I'm sorry, Guy, to be the one to tell you. It concerns your wife. She's been murdered. Guy stares woodenly at the Senator, is if hypnotized. BARBARA The police have been using everything but radar to locate you. SENATOR You're to call Headquarters at Metcalf. The full impact of what has happened hits Guy once more. GUY Miriam. murdered. ANNE -LRB- with inner tension. -RRB- She was. strangled. Slowly Guy's eyes meet hers. They are remembering what he said on the phone : `` I could strangle her.'' He sinks into a chair. The Senator is quite distressed. During the following scene Barbara quietly goes about the business of pouring drinks and serving them. She knows everyone's preference. SENATOR -LRB- wrylt, to Guy. -RRB- It happened on an island in an amusement park. It was sort of a lovers lane, I believe. A rather sordid atmosphere. BARBARA -LRB- quickly, to Guy. -RRB- Miriam went there with two boys. They were the ones who found her. So they're not suspects. But you probably will be. SENATOR Young lady, we ca n't overlook the fact that murder is at our doorsteps. But I forbid you to drag it into the living room! BARBARA -LRB- wide - eyed. -RRB- Let's not fool ourselves. The police will say Guy wanted Miriam out of the way so he could marry Anne. In a crime of this sort the police first go after the husband, and Guy had every motive. SENATOR -LRB- aghast. -RRB- Motive? GUY -LRB- quietly. -RRB- She's right. Whichever way you look at it. I'm in a spot. SENATOR -LRB- disconcerted but whistling in dark. -RRB- Oh come now, my boy. I'm sure you have nothing to worry about. BARBARA -LRB- flatly. -RRB- If he has n't an alibi for nine - thirty tonight he has plenty to worry about. ANNE -LRB- who has n't taken anxious eyes off Guy. -RRB- You can tell them where you were, ca n't you, Guy? GUY -LRB- wearily. -RRB- At nine - thirty I was on the train from New York to Washington. SENATOR -LRB- relieved. -RRB- There you are. BARBARA Who saw you? Did you speak to anyone? You'll need a Witness, you know. GUY -LRB- as if it did n't matter. -RRB- Yes, I spoke to someone. SENATOR -LRB- hopefully. -RRB- Anyone you know? GUY No. His name was Collins. He is a professor. SENATOR -LRB- brightening. -RRB- Harvard. GUY University of Virginia. The Senator's expression says : `` Well, that's not too bad.'' CLOSEUP ANNE Her face shows her relief that Guy can account for his time. ANNE Then everything's's all right. BACK TO SCENE BARBARA Not quite. Detectives play a game called Motive, Motive, Who'd got the Motive. ANNE -LRB- near the breaking point. -RRB- I'm sick of hearing that word! BARBARA He'll still have to answer questions. SENATOR Routine. Pure routine. GUY I'm afraid there'll be a lot of reporters at your front door in the morning. BARBARA Daddy does n't mind a little scandal. He's a senator. ANNE -LRB- answering Guy's look. -RRB- It ca n't be helped, darling. It is not your fault. It's not as though anyone can say you had something to do with it. GUY Someone might say it. I'd do anything to keep you all out of this mess. SENATOR Profit by my experience, Guy. Never lose any sleep over accusations. -LRB- an afterthought. -RRB- Unless they can be proved, of course. We'll help all we can. Dreadful business, dreadful. That poor unfortunate girl. BARBARA -LRB- flatly. -RRB- She was a tramp. SENATOR -LRB- pontificially. -RRB- She was a human being. let me remind you that even the most unworthy of us has the right to life and the pursuit of happiness. BARBARA -LRB- unimpressed. -RRB- From what I hear, she pursued it in all directions. SENATOR Barbara! ANNE Father, it's getting terribly late, and Guy looks so tired. SENATOR -LRB- quickly. -RRB- Of course, of course. Back to bed, Barbara. BARBARA -LRB- ignoring this - to Anne and Guy. -RRB- Well, you two. Nothing stands in your way now. You can be married right away. Think of it - you're free! CLOSE TWO ANNE AND GUY look at one another with a growing realization of what Miriam's death actually means to their happiness - they are free. BACK TO SCENE The Senator firmly urges Barbara to the door. SENATOR -LRB- to Barbara. -RRB- One does n't always have to say what one thinks! BARBARA -LRB- sweetly. -RRB- Father, I'm not a politician. The Senator gives her a gentle but firm push out of sight. SENATOR You wo n't forget that call, Guy? Captain Turley. GUY Yes sir. Goodnight. Barbara pokes her head quickly around the door. BARBARA I still think it would be wonderful to have a man love you so much he'd kill for you. -LRB- she ducks out. -RRB- TWO SHOT Left alone, Guy and Anne embrace. Anne's nervous tension comes to the surface in a flood of relief. ANNE I told myself over and over I was being silly, but there was one horrible moment tonight when the news came through. I kept remembering what you shouted telephone from Metcalf. GUY That I could strang. Anne quickly puts her fingers over his mouth. ANNE Do n't even say it. Forget you ever said it. Even more terrifying than the murder itself, Guy, was the awful thought that if you had anything to do with it we'd be separated, - perhaps forever. I'd never see you again. I could n't bear it. LONG SHOT MAIN STREET OF METCALF DAY with its customary mid - afternoon activity.", "EXT. METCALF POLICE HEADQUARTERS DAY A knot of people are hanging around the entrance, including a few newspaper photographers. There is a rush of interest when a taxi pulls up and Guy steps out of it. Guy pushes his way through the people. Two or three bulbs flash. There is a murmur from the crowd and we hear Guy's name. He passes into the entrance.", "INT. CORRIDOR OF POLICE HEADQUARTERS Guy comes into the corridor from the street and approaches two policemen who are standing nearby. GUY Captain Turley's office? One of the policemen gestures to a door at the right. Guy crosses and enters.", "INT. RECEPTION ROOM OUTSIDE CAPTAIN TURLEY'S OFFICE At one side of the room is a young police sergeant seated at a typewriter. A group of people are seated in chairs lined against the opposite wall. Guy enters, crosses to the sergeant at the desk. GUY Captain Turley is expecting me. Guy Haines. SERGEANT Just a moment, Mr. Haines. He rises and goes into an adjoining room. CLOSEUP GUY He now has time to take stock of the waiting people. He catches his breath when he sees : CLOSEUP MRS. JOYCE Miriam's mother, dressed all in black, is seated in one of the chairs. She has been staring at the floor, but brings her eyes up slowly to glare at Guy with a look of burning hatred. MRS. JOYCE -LRB- a fierce whisper. -RRB- You'll pay for this! CLOSEUP MR. HARGREAVES Mr. Hargreaves from the music shop looks across at Guy, attempts in awkward nod but is very embarrassed. CLOSEUP GUY Guy nods in returns. MED. SHOT The two boys who were with Miriam at the amusement park. They look at Guy with interest. MED. SHOT GUY He looks about him uncomfortably, then turns suddenly as he sees : MED. SHOT Seated behind Guy, apart from the others who are waiting, is Professor Collins, Guy's drunken companion on the train of the night before. The professor is completely sober now, dignified and erect. He has removed his glasses to polish them and does not react to Guy's presence. CLOSEUP GUY Guy starts with a smile of recognition to say, `` How do you do?'' but at that moment he hears the door open and his name called : SERGEANT'S VOICE Will you come in, please, Mr. Haines? MED. SHOT Guy breaks away from his uncompleted greeting to the professor and goes through the door to Captain Turley's office, followed by the eyes of the waiting people.", "INT. CAPTAIN TURLEY'S OFFICE CAPTAIN TURLEY is conscientious, methodical and always polite. He puts aside photographs and records and rises from behind his desk as Guy comes in. A detective lieutenant, CAMPBELL, is attending a coffee maker. Their expressions are grave by contrast with Guy's confident attitude after seeing the professor in the waiting room. CAPTAIN TURLEY Good of you to be so prompt, Mr. Haines. This is Lieutenant Campbell. -LRB- the two nod to each other. -RRB- Wo n't you sit down? GUY Thank you, sir. -LRB- he sits. -RRB- CAPTAIN TURLEY I know you're a busy man, so we wo n't detain you any longer than necessary. Now you already been good enough to tell us where you were last evening, and we've managed to locate the gentleman you spoke with on the train. Turley signals to Campbell to call the professor in. GUY -LRB- brightening. -RRB- Yes. I saw him outside. CAMPBELL -LRB- at open door. -RRB- Will you come in please, professor? CLOSEUP GUY He looks up eagerly. MED. SHOT Professor Collins comes in and sits in a chair opposite Guy. TURLEY Professor Collins, this is Mr. Haines. He was with you on the train last night. The professor studies Guy for a moment, then awkwardly turns to Turley. COLLINS I'm terribly sorry, but I really do n't remember meeting this gentleman. CLOSEUP GUY Surprised. His confident expression fades. CLOSEUP PROFESSOR COLLINS He turns from the captain to Guy. COLLINS -LRB- apologetically. -RRB- Unfortunately, I remember very little about the journey from New York. You see, there had been a little celebration - MED. SHOT GROUP Guy interrupts with a slight note of impatience. GUY But we were sitting opposite each other in the observation car! You were singing a song about a goat - COLLINS -LRB- incredulously. -RRB- A goat? GUY -LRB- urgently. -RRB- And calculus. You were going over a speech you'd made. Turley and Campbell are watching closely. COLLINS I was? I'm sorry, Mr. Halnes. -LRB- shakes his head. -RRB- I certainly must have celebrated! I ca n't remember you at all. CLOSEUP GUY Momentarily Guy is frustrated, then he turns quietly to Turley. GUY -LRB- calmly, logically. -RRB- Captain, is it so important whether or not Professor Collins remember me? Surely, the important thing is that I've been able to name a man who was on the train with me. You've been able to find him. Is n't that proof of where I was at nine - thirty last night? Guy asks this question with a look of near triumph that he has clearly established his alibi.", "INT. BURTON LIVING ROOM EVENING The Burtons are having coffee. Barbara has been glancing through a new murder mystery with a lurid cover. As Guy enters, Anne rises to greet him. ANNE Hello, darling. Have you had your dinner? GUY On the train. ANNE You were n't in Metcalf all this time? We expected you hours ago. BARBARA -LRB- flatly. -RRB- I did n't. They sometimes throw a suspect in the can and keep him there all night. SENATOR -LRB- after a disapproving glance at Barbara. -RRB- Sit down, Guy. Sit down. Give him some coffee, Anne. -LRB- back to Guy. -RRB- You had no trouble with the police of course, once they verified your alibi? GUY -LRB- morosely. -RRB- When an alibi is full of bourbon, sir, it ca n't stand up. BARBARA You mean the professor was boiled? GUY Completely. He did n't remember me. ANNE But, you knew he was on the train! Was n't that enough to prove you were on it, too? GUY Apparently not at the right time. They suggested I could have caught the train at Baltimore after Miriam was murdered. They had it all worked out -. -LRB- taps his head. -RRB- in their timetables. ANNE -LRB- growing indignant and increasingly nervous. -RRB- That's ridiculous. They're acting as if you were guilty. BARBARA -LRB- somewhat subdued and trying to be comforting. -RRB- Everything will be all right, Anne. The police were just being thorough -. -LRB- she's unsure of herself, and defers to the senator. -RRB- Were n't they, daddy? SENATOR I certainly hope so. -LRB- to Guy. -RRB- What is your next step? GUY -LRB- wryly. -RRB- Whatever it is, the police will know it. They gave me a present - come take a look. He crosses to the window, lifts the curtain slightly, then turns back to the others. GUY -LRB- continuing. -RRB- My guardian angel. The group move to look out the window, the senator with reluctance. LONG SHOT EXT.. STREET FROM THEIR VIEWPOINT Through the window we see the figure of a man across the street. He is lighting a cigarette and strolling up and down. BACK TO GROUP BARBARA -LRB- impressed. -RRB- You're being tailed! GUY -LRB- turning to them. -RRB- That's Leslie Hennessy. He works sixteen hours a day. Somebody else takes over for the next eight. -LRB- drops the curtain, turns back into room. -RRB- As a matter of fact, Hennessy's a very nice fellow. BARBARA Should n't we ask him in for Coffee - or something? Nobody bothers to answer her. The Senator is disturbed, but confident of his own prestige as he goes back to his coffee. SENATOR I'll have him called off immediately of course. GUY -LRB- calmly. -RRB- I'm afraid where I go, Hennessy goes. Even to the Senate. SENATOR -LRB- Pausing with his cup hallway to his mouth. -RRB- Is he likely to - picket my office? GUY Very likely. The Senator's cup is suddenly back on its saucer and he is on his feet, pacing nervously. SENATOR I would suggest, Guy, for your own peace of mind, of course, that you work here at the house for a few days. -LRB- a pause. -RRB- It would be less embarrassing for you. Guy has been looking at Anne and is concerned at the worry on her face. He nods in assent to the Senator's suggestion, but puts his hand over Anne's. GUY -LRB- hopelessly. -RRB- Then what about practicing? Perhaps I'd better forget Forest Hills? SENATOR My dear boy, would n't it look rather - awkward - if you suddenly canceled all your plans. ANNE He's right, Guy. You must n't do anything that would look suspicious. You've got to carry on as though nothing has happened. BARBARA -LRB- pointing out the window. -RRB- Escorted by Mr. Hennessy. The are crestfallen again. RANDALL, the manservant, has entered with the telephone. RANDALL A call for you, Mr. Haines. They say it is urgent. The phone is plugged in to a connection and Guy crosses the room and picks up the receiver. The Burtons watch him. GUY Hello -", "INT. TELEPHONE BOOTH BIG HEAD CLOSEUP OF BRUNO His face wears the most affable expression. BRUNO Hello, Guy. I tried your apartment, but -. -LRB- pause. -RRB- Why, Guy, this is Bruno!", "INT. BURTON LIVING ROOM Guy hangs up the telephone quickly. He looks at the others, awkwardly tries to explain : GUY Must be some mistake. It was n't for me. His embarrassment grows as Anne looks at him with a puzzled expression. FADE OUT. FADE IN", "EXT. WASHINGTON STREET APPROACHING JEFFERSONS MEMORIAL DAY Guy and HENNESSY are walking along the street together, CAMERA MOVING WITH THEM. Their relationship is most friendly. Guy carries a briefcase. Hennessy is an amiable but not gullible young man in his early thirties. He knows his job, is well groomed, well educated, and well liked. GUY Well, I suppose I was pretty lucky to be seeded fifth, really. HENNESSY I've never seen the Forest Hillss tournament before. I'm looking forward to it. GUY -LRB- wryly. -RRB- Do you mean we'll be going there together, Hennessy? HENNESSY Oh, do n't worry. This thing will be cleared up by that time. -LRB- changes the subject. -RRB- Ever thought of turning professional, Guy? GUY I wo n't have to do that. When I'm through with tennis. I'll be going into politics, I hope. HENNESSY -LRB- aghast. -RRB- Politics! It's a good thing for you I do n't report that to the chief. He turns to light a cigarette. As he does, Guy gives a barely perceptible start at what he sees offscene. LONG SHOT JEFFERSON MEMORIAL FROM GUYS VIEWPOINT The tiny figure of a man is standing at the base of the tall white column. The figure lifts in arm and waves. Instinct tells us that this is Bruno. Hennessy is still mumbling his opinion of politics. HENNESSY'S VOICE If he knew you were getting into that rat - race - TWO SHOT GUY AND HENNESSY Guy turns his back on Bruno's figure and looks frantically toward to street, wanting to get away. HENNESSY - He'd put ten men on your trail. He says - GUY -LRB- interrupts. -RRB- Let's take this cab. It's getting late. He hails a taxi which is cruising by, and they start to get in. Guy directs the driver. GUY Pentagon Building, please. HENNESSY Oh, no, not there! I always get lost.", "INT. TAXI CLOSE SHOT Guy turns and looks out of the window. LONG SHOT JEFFERSON MEMORIAL from Guy's viewpoint, shot through the cab window. Again we see the solitary figure of Bruno looking after Guy and beginning to recede with the background as the cab starts off.", "INT. GUY'S APARTMENT NIGHT As Guy comes in from outside, there is a note on the floor that has been pushed under the door. Guy picks it up, stares at it for a minute before he opens it. He takes out a handwritten note and reads it with an expression of disgust. INSERT NOTE -LRB- IN GUY'S HANDS -RRB- Dear Guy : We have to meet and make plans. Call me at Arlington -. Time's getting short. Bruno The handwriting is sprawling and erratic, embellished with conceited flourishes. MEDIUM SHOT Guy looks off for a moment with set face, then tearing the note into shreds, crosses to a small desk, lights a match and holds it to the fragments, letting them burn and fall into an ash tray. Guy looks off for a moment with set face, then tearing the note into shreds, crosses to a small desk, lights a match and holds it to the fragments, letting them burn and fall into an ash tray. LONG SHOT EXT.. MELLON GALLERY LATE AFTERNOON CAMERA is in a low setup, to take in the sign across the doorway which identifies the gallery. Hennessy stands in the foreground in front of the building, on duty.", "INT. MELLON GALLERY Guy and Anne are walking slowly through a more or less deserted room of the gallery. Their manner is relaxed and intimate. ANNE Well, we'd better be getting back. GUY We've actually been alone for an hour. Seems almost indecent. You like? ANNE -LRB- softly. -RRB- I like. GUY I was beginning to feel like a goldfish. ANNE So was I. When we build our house, darling, we wo n't even have glass windows. No doorbells, no newspapers, no telephone - GUY No Hennessy. ANNE -LRB- suddenly serious. -RRB- How long can it go on? GUY I do n't know. I suppose until they find out who did it. ANNE We'll be happier then, wo n't we? GUY I suppose so. Anne looks it him, surprised at his lack of enthusiasm. They walk on out of the picture. A figure steps out from behind a pillar in the main hall of the gallery, near the spot from which they have disappeared. It is Bruno. He calls. BRUNO -LRB- softly. -RRB- Guy! Anne stops and looks back. Guy knows who it is and would not turn but that he is forced to by Anne's action. He takes a few steps towards Bruno. CLOSEUP Anne watches Guy approach this stranger. She looks downward at Bruno's tie pin. CLOSEUP Bruno's tie pin, bearing his name, gleams in the light. CLOSEUP Anne reads the name on the tie pin. TWO SHOT Guy comes up to Bruno, steps in front of him. GUY -LRB- muttering harshly. -RRB- Will you stop pestering me! BRUNO But Guy, you have n't called me. My father's leaving for Florida the end of this week - GUY -LRB- interrupts. -RRB- You crazy fool! There's a detective outside. He'll see us together! BRUNO -LRB- brushing this off. -RRB- Oh, they ca n't have anything on you. -LRB- looking past Guy. -RRB- Is n't that Anne Burton? Slight improvement over Miriam - eh, Guy? GUY Stay away from me, I tell you! He leaves Bruno abruptly to rejoin Anne. Bruno looks after him, a little hurt. TWO SHOT Guy rejoins Anne and they start to walk away. ANNE Who was it, Guy? GUY -LRB- unnerved. -RRB- I never saw him before. Just some tennis fan. Anne looks at him a little oddly. He seems unduly concerned about a casual stranger. CLOSEUP ANNE Her face is troubled. FADE OUT. FADE IN", "INT. MORTON STUDY MED. SHOT Guy and a secretary have set up office in the Morton study. As the scene opens the secretary is handing Guy a large envelope. SECRETARY Here's a special delivery, Mr. Haines. It's marked personal. As Guy is opening the envelope, Barbara speaks to him from atop a library ladder. She is getting a book from one of the top shelves of a bookcase, which is next to a window. BARBARA Are you getting in any practice today, Guy? GUY -LRB- as he takes out a large folded sheet of paper and glances at it, mystified. -RRB- Yes, if I can get a court at the club. As Guy's hands unfold the paper and hold it for moment, we see that it is a diagrammed plan of the grounds and the Interior of the Anthony house. There are dotted lines along the upper hall, with an arrow which points to one room and where Bruno has indicated in his handwriting, `` My father's room.'' Over this we hear the voices of Barbara and the secretary : SECRETARY'S VOICE Barbara, who are you waving at? BARBARA'S VOICE Mr. Hennessy. I think it is a shame Daddy wo n't let us have him in the house to sit down. Have you met him yet, Louise? SECRETARY'S VOICE No. BARBARA'S VOICE He is awfully cute. MED. SHOT Guy frowns, quickly folds the paper up and stuffs it into his pocket. He looks off abstractedly. CLOSEUP SECRETARY She looks at Guy sympathetically. SECRETARY Is anything wrong, Mr. Haines? CLOSEUP GUY Her voice breaks his reverie. He answers her with a forced smile. GUY No, thank you, Louise. FADE OUT. FADE IN TENNIS COURT AT WASHINGTON COUNTRY CLUB There are twenty or thirty people sitting in the bleacher seats opposite the umpire's chair. A game of mixed doubles is in progress. MED. SHOT AT THE ENTRANCE TO THE COURT Guy appears, carrying his racquets. His partner for the forthcoming game, and one or two other players, are close by. CLOSER SHOT Guy looks about him. Several people are looking at him awkwardly or avoiding his eyes. He moves self - consciously away, and the CAMERA PANS HIM around the court to the umpire's chair. MED. SHOT A couple of women players whisper something about Guy as he goes past them. FIRST WOMAN I did n't think he'd show up after what happened. SECOND WOMAN And miss all the publicity? MED. SHOT As Guy stands at the umpire's chair, the umpire glances down and gives him a rather embarrassed greeting. CLOSEUP GUY He looks across at the watching crowd. MED. SHOT FROM GUY'S VIEWPOINT The heads of the people in the bleachers move from side to side, to follow the play on the court. One head is not moving. It is staring at Guy. It is Bruno. At this moment, we hear the umpire calling, `` Game, set and match'' to the winning mixed doubles pair. CLOSEUP GUY His expression becomes set. LONG SHOT The mixed doubles couples complete their handshaking at the net and move off the court. We see Guy move up to the base line while the other player takes his position for the preliminary knock - up. MED. SHOT As Guy casually knocks the ball across the net, he glances again toward Bruno. MED. SHOT FROM GUY'S VIEWPOINT Bruno is making his way out of the small stand. CLOSEUP GUY Perplexed and apprehensive as to what Bruno may be up to. He hears his opponent's voice. PLAYER'S VOICE Ready, Guy? Guy shakes off his abstraction and poises himself to receive the ball. MED. SHOT PASSAGEWAY LEADING TO TERRACE We see Guy coming alone, having fInIshed his game. He is carrying his rackets, wears a towel around his neck, etcetera. He walks into foreground, into CLOSEUP, and suddenly stops short at what he sees : MED. SHOT FROM GUY'S VIEWPOINT The group at the table comprising Bruno, Anne and the two French people. Bruno is preening himself as the others laugh uproariously, obviously at something Bruno has said. Anne catches sight of Guy and smiles at him. CLOSE SHOT GUY CAMERA MOVES WITH HIM as he comes forward toward the table. MED. SHOT GROUP AT TABLE As Guy comes into the scene. He stands staring. ANNE Guy, darling - this is Mr. Antony - a friend of Monsieur and Madame Darville. -LRB- to Bruno. -RRB- Guy Haines. CLOSEUP GUY He gives a weak acknowledgment in Bruno's direction, realizing that Bruno has wormed his way into the group and that he must accept the introduction. MEDIUM SHOT Bruno half rises, smiles affably at Guy, reaches out his hand. Guy is forced to shake hands with him BRUNO I've been a fan of yours for a long time, Mr. Haines. In fact, I follow everything you do. MME. DARVILLE Mr. Antony has been telling us such charming stories. Very funny. CLOSEUP GUY He gives another weak little smile. MED. SHOT In response to the Frenchwoman's attentive and eager expression, Bruno leans forward on the table and starts saying something more in extremely fluent French. CLOSEUP ANNE She is staring at Bruno with a new expression. CLOSEUP FROM ANNE'S VIEWPOINT Bruno's coat has spread open a bit, and his tie pin bearing the name `` Bruno'' is resting on the edge of the table. CLOSEUP ANNE She becomes aware that this is the man she has seen call to Guy in the art museum, that they have met before. Her eyes turn a little in Guy's direction, though she does not look at him. CLOSEUP GUY He is still watching Bruno talk to the French couple. Guy is unaware of Anne's looks. Suddenly his attention is arrested by the sound of Barbara's voice calling him. BARBARA'S VOICE Guy! He turn his head and CAMERA PANS him to Barbara, who is standing a few steps from the table beckoning to him. BARBARA -LRB- Sotto voce. -RRB- I've just been talking to your shadow. -LRB- very impressed. -RRB- Guy, did you know Mr. Hennessy helped crack that axe murder I was reading about? You know, the one where the body was cut up and hidden in the butcher shop? He was locked in the ice box with the left leg for six hours! GUY He pulls those yarns right out of his hat, Babs. CLOSEUP GUY He gives a sharp look back toward Bruno. There is more laughter coming from the French couple at the table. CLOSE SHOT GROUP AT TABLE FROM GUY'S VIEWPOINT Bruno is occupied with his French joke, but Anne is looking at Guy strangely. TWO SHOT GUY AND BARBARA Guy turns back to Barbara. Barbara looks with interest toward Bruno. BARBARA Who's the nice looking Frenchman with the Darvilles? GUY He's not French. His name's Antony. Barbara steps toward the table. MED. SHOT AT TABLE as Barbara joins the group. BARBARA How do you do, Madame Darville. Monsieur. They looks up. CLOSEUP BRUNO Bruno stops in the middle of some French to stare at Barbara. Her voice continues. BARBARA'S VOICE How are you? FRENCH COUPLES' VOICES Delightful to see you. How sweet you look, Miss Barbara. CLOSE SHOT BARBARA FROM BRUNO VIEWPOINT BARBARA I hope you are n't forgetting our little party on Thursday, Madame. From Bruno's viewpoint, as Barbara speaks, CAMERA MOVES IN CLOSER until to faintest impression of the merry - go - round fills the screen with the effect of whirling around Barbara's head. Her glasses seem to glint until her eyes are obliterated by the glare. MED. SHOT THE GROUP MME. DARVILLE We are planning on it? M. DARVILLE But of course. All talk dies out as all eyes turn to Bruno, who is staring at Barbara. Except Anne's, who is saying quietly to Bruno : ANNE This is my sister Barbara. Barbara, this is Mr. Antony. CLOSEUP BRUNO He does not acknowledge the introduction immediately. He is still staring at Barbara. Then he nods abstractedly. CLOSEUP ANNE She is looking at Bruno, wondering what mystery lies behind this strange individual and why he and Guy have disclaimed any previous acquaintance. FADE OUT. FADE IN", "INT. GUY'S APARTMENT NIGHT CLOSEUP A LUGER PISTOL HELD IN GUY'S HANDS CAMERA PULLS BACK TO SHOW Guy staring down at it. He is partially dressed for an evening party, in black bow tie but without his jacket. He leans forward to take up a letter from among brown paper wrappings on the table. INSERT : LETTER Dear Guy - Just two more days left. We must get together for final details. The note, in Bruno's handwriting, is unsigned. CLOSEUP GUY He stares down at the note. At this moment there is a knock at the door. MED. SHOT Guy hastily gather together the gun, the note and the wrappings and puts them in a dresser drawer. He crosses to the door and opens it. Hennessy enters, carrying a topcoat. GUY Hiya, Hennessy. Wo n't keep you out late tonight. -LRB- getting into his dinner jacket. -RRB- With Forest Hills coming up tomorrow, I've got to get some sleep. HENNESSY -LRB- helping himself to a cigarette. -RRB- That's too bad. Hammond takes over in a couple of hours. I'd like to see him earn his salary. Guy turns to the dresser drawer in which he has put the note and the gun, maneuvering his body between the dresser and Hennessy's view. He takes out a handkerchief, closes the drawer, sticks the handkerchief in his pocket, speaking as he does so. GUY Does n't that bloodhound over relax? He sticks so close he's beginning to grow on me - like a fungus. HENNESSY -LRB- mildly. -RRB- He thinks you're a very suspicious character. He does n't trust anybody! Not even himself. Guy is eager to get out of the room, and Hennessy is maddeningly slow in his movements. GUY Come on. -LRB- indicating at Hennessy overcoat. -RRB- Do n't forget your sleeping bag. HENNESSY -LRB- taking his time. -RRB- Yeah, If I have to wait too long on the sidewalk my feet get cold. And if I sit too long on those stone steps, my - Guy has the door open and eases Hennessy toward the haIl. GUY -LRB- quickly. -RRB- Do n't worry. Since you told Barbara Burton about the icebox, you're her favorite charity. She'll send the butler out with something to defrost you. HENNESSY -LRB- grinning. -RRB- Cute kid. He's gone, and with a last glance at the dresser, Guy goes out and closes the door.", "EXT. BURTON HOUSE LONG SHOT NIGHT The street outside the Burton house is lined with cars and limousines. Various guests are arriving. MED. SHOT On the opposite side of the street we see Hennessy, now wearing his topcoat. He looks bored as he glances across the street to the house.", "INT. BURTON HOUSE BIG HEAD CLOSEUP OF ANNE Her face is troubled. CAMERA BEGINS TO PULL BACK. We see now that the reception is in progress and that Anne stands beside her father to greet the arriving guests. CAMERA PULLS BACK FURTHER to show us a full view of a very crowded Washington gathering Many white ties and tails and decollete in evidence. Many accents. Even some foreign languages are being spoken. Music and chatter in the b.g. CLOSE SHOT Anne and the Senator are still greeting new arrivals. Anne's manner is somewhat preoccupied. She glances around as she speaks, as though looking for someone. ANNE -LRB- to new arrival. -RRB- Thank you so much, Mr. Lindsay. We'll look forward to it. PANNING SHOT FROM ANNE'S VIEWPOINT THE CAMERA PASSES various groups of guests in conversation including Guy and Barbara who are together. From this distance we can not hear what they are saying. CAMERA CONTINUES TO the front door. It opens to admit a new arrival. It is Bruno. He wears white tie and tails, looking very elegant. We see Guy excuse himself from Barbara, cross to Bruno and speak to him angrily, obviously asking, `` What are you doing here?'' Bruno, however, greets Guy with a smile then turns from him, unperturbed and bland. He sees Anne and moves toward her, smiling. CLOSEUP ANNE As Bruno comes in her direction, Anne's expression shows her mystification and concern about Bruno's presence and about Guy's attitude toward him. MED. SHOT Bruno comes up to Anne and the Senator. He gives a slight bow to the Senator ; then puts his hand out to Anne. BRUNO Good evening, Miss Burton. The Senator looks inquiringly. Anne makes the introduction. ANNE This is Mr. Antony, father. SENATOR How do you do, sir. BRUNO I'd like to talk to you sometime, Senator, about my idea of harnessing the life force. It will make atomic power look like the horse and buggy. -LRB- the Senator and Anne are beginning to look at him in amazement. -RRB- I'm already developing my faculty for seeing millions of miles. And, Senator, can you imagine being able to smell a flower on the planet of Mars? I'd like to lunch with you some day soon and tell you more about it. Interrupted by new arrivals, Bruno moves away out of the picture, with a charming smile to Anne. The Senator greets the new guests with open mouth and simply shakes their hands while glancing off in direction of the departing Bruno. DOWAGER -LRB- to Senator. -RRB- So nice to see you, my dear Senator. SENATOR Ah yes, indeed - I beg your pardon? She realizes he has n't heard a word she's said and haughtily moves on. The Senator turns to Anne. SENATOR -LRB- still looking after Bruno. -RRB- I do n't remember inviting that young man. Who is he? ANNE A friend of the Darvilles. SENATOR He has an unusual personality. Provocative. CLOSEUP ANNE She looks off in Bruno's direction extremely disturbed at this new aspect of the mysterious stranger. CLOSEUP GUY He is watching Bruno. MED. SHOT Guy sees Bruno join a group of several ladies who are seated on a settee and a couple of older men who are standing by. A waiter comes along with a tray of drinks. Bruno takes one. CLOSEUP BARBARA She comes from the same direction that Guy came. She stops short as she sees : MED. SHOT FROM BARBARA'S VIEWPOINT Bruno is now heartily joining in conversation with one of the elderly gentlemen. CLOSE SHOT BRUNO AND GROUP Bruno talking to an elderly, dignified gentlemen. BRUNO But tell me, Judge, after you've sentenced a man to the chair, is n't it difficult to go and eat your dinner after that? JUDGE Young man, when a murderer is caught, he must be tried. When he is convicted, he must be sentenced. When he is sentenced to death, he must be executed. BRUNO Quite impersonal, is n't it, sir? JUDGE So it is. Besides, it does n't happen every day. At this moment, Anne comes into the scene. She hesitates as she hears Bruno's answer. BRUNO So few murderers are caught. The Judge moves out of the way. Bruno smiles blandly at the ladies. One of them speaks to him. MRS. CUNNINGHAM Well, Mr. Antony, you seem very interested in the subject of murder. Anne looks more troubled, then moves on out of the scene. BRUNO No more than anyone else. No more than you, for instance. MRS. CUNNINGHAM Me? I'm not interested in murder. Bruno pulls up a chair to face the two woman on the settee, sits down, straddling the seat, to look at them over the back of the chair and settle down for a nice conversation. BRUNO -LRB- his tone is teasing. -RRB- Oh, come now, everyone's interested in that. Everyone would like to put someone out of the way. Now surely, Madame, you're not going to tell me that there has n't been a time when you wanted to dispose of someone. Your husband, for instance. MRS. CUNNINGHAM -LRB- laughs. -RRB- Good heavens, no! BRUNO -LRB- playfully. -RRB- Ah ah! -LRB- shaking a finger at her. -RRB- Are you sure? Do you mean to tell me there was n't a tiny moment - when you'd been made really angry? And what did you say? MRS. CUNNINGHAM -LRB- squirms, giggling. -RRB- Well. BRUNO There you are, you see! There you are! All right, now you're going - to do a murder. How are you going to do it? This is the fascinating part - how are you going to do it. I did n't get your name? MRS. CUNNINGHAM Mrs. Cunningham. BRUNO Mrs. Cunningham, how are you going to do it? MRS. CUNNINGHAM -LRB- entering into the spirit of the play. -RRB- Well, I suppose I'll have to get a gun from somewhere. BRUNO -LRB- shakes his head. -RRB- Tssk, tssk. Oh no, Mrs. Cunningham. Bang, bang, all over the place. Blood everywhere? The other woman joins in : MRS. ANDERSON What about a little poison? BRUNO Ah! That's better, that's better. Mrs? MRS. ANDERSON Anderson. BRUNO -LRB- he is thoroughly enjoying himself. -RRB- That's better, Mrs. Anderson. But Mrs. Cunningham is in a dreadful hurry. Poison could take. let's see. ten to twelve weeks, if poor Mr. Cunningham is to die from natural causes. MRS. CUNNINGHAM I have a wonderful Idea! I can take him out in the car and when I get to a lonely spot, knock him on the head with a hammer, pour gasoline over him and over the car and start the whole thing ablaze. BRUNO -LRB- looks at her deprecatingly. -RRB- And then have to walk all that way home? Mrs. Anderson laughs. BRUNO No, I have the best way, and the best tools. -LRB- he holds out his hands and shows them. -RRB- Simple, silent, and quick. The silent part being the most important. Let me show you what I mean. -LRB- he raises his hands toward Mrs. Cunningham's throat, then stops a moment to ask. -RRB- You do n't mind if I borrow your neck for a moment do you? MRS. CUNNINGHAM -LRB- giggles. -RRB- Well, it's not for long. BRUNO Oh! no. -LRB- he takes a drink and puts his glass down. -RRB- Now, when I nod my head, just see if you can cry out, and I bet you ca n't. -LRB- he places his hands around Mrs. Cunningham's neck. -RRB- Now with my two thumbs. you see that's where I'll be able to prevent any sound coming from you. Now, just wait for the nod of my head. CLOSEUP BRUNO As he starts to Press her neck, his eyes wander from the face of his `` victim'' to someone else off scene. MED. SHOT BARBARA She is watching this rather unorthodox demonstration. The CAMERA MOVES UP until her head fills the screen. Her glasses glint in the light. CLOSEUP BRUNO He is now transfixed. His breathing becomes heavy. A strange expression comes over his face. He still stares off at Barbara. MED. SHOT BARBARA We see the whirling merry - go - round spinning around her head. BIG HEAD CLOSEUP BRUNO He now seem to have almost gone into a trance. Over the shot we begin to HEAR a strangled cry, and a broken exclamation, then Mrs. Anderson's voice. MRS. ANDERSON'S VOICE Mr. Antony! Mr. Antony! ANOTHER VOICE Stop him! Stop him! CLOSEUP Bruno's wrists and hands and the neck of his victim. We can just see Mrs. Cunningham's chin at the top of the screen. Her head is tossing from side to side. Her hands are clutching at Bruno's wrists. The hands of the other two women, also in the picture, are pulling at Bruno's wrists. Mrs. Cunningham's hands begin to slide off. Her head drops back. Over this we HEAR cries of : VOICES Stop him! Help, somebody! Pull him off! Mr. Antony! Mr. Antony! CLOSEUP BRUNO His body is swaying slightly at the various efforts to drag him away from Mrs. Cunningham. His eyes begin to close, and slowly he falls away from the picture in a dead faint on the floor. MEDIUM SHOT There is a rush of people around Mrs. Cunningham, who is breathing frantically, her eyes opening and closing. A couple of women are feebly slapping her hands, someone else is fanning her face. MEDIUM SHOT The Senator and Guy rush into the picture. They look at the fallen Bruno. They search around for an explanation. Other man come in ad they start to pick Bruno up. GUY Bring him this way. Guy gives a quick look in direction of Mrs. Cunningham, sees that she is being attended to. MEDIUM SHOT Anne rushes into the picture. She sees Bruno being helped to his feet ; then turns her attention to Mrs. Cunningham, who has now somewhat recovered. Mrs. Cunningham is helped to the settee. There is a babble of women's voices trying to explain what has happened. ANNE -LRB- thru the babble. -RRB- Bring her upstairs. As the two groups pass off in different directions, the few people who ran into the scene late are asking the others what the disturbance is. `` What's wrong?'' `` Did she faint?'' `` I did n't see anything.'' `` What happened to him?'' `` Somebody hurt?'' But one small figure stands in the clear. It is Barbara, She is still transfixed by what she has seen. Her hands are trembling. CAMERA MOVES SLOWLY IN ON HER. We see that her lips are trembling, too, and in her eyes frightened tears are welling. Her breath is heavy.", "INT. STUDY Bruno is stretched out on a settee. He is completely out. His collar and tie are open. Two or three of the male guests are just leaving the room. The Senator remains behind for a moment with Guy. SENATOR I thought he was a bit weird when he arrived. Who is he? GUY I hardly know him, sir. SENATOR Get him out of here as soon as you decently can - will you. This is a nice item for the gossips. First thing you know, they'll be talking about orgies. I'd better get back. GUY Yes, sir. The Senator leaves. Guy stands over Bruno's outstretched figure. MEDIUM SHOT Bruno is now half awake. Almost without seeing Guy, he staggers to his feet and begins to make his way to the door. Guy advances, and with a sharp thrust, pushes Bruno back on the settee. Bruno looks and sees Guy clearly for the first time. BRUNO What happened? I was on a merry - go - round somewhere. It made me dizzy. Guy moves forward, and thrusting his hand in Bruno's open shirt, pulls him to his feet. Bruno ignores Guy's violence and remain puzzled. GUY -LRB- disgusted. -RRB- You're a mad, crazy maniac, and you ought to be locked - up! Now will you get out of here and let me alone? BRUNO But, Guy - Guy smashes Bruno in the jaw, in utter disgust, and knocks him back onto the settee. Bruno looks up from his sprawled position, a dull look in his eye. BRUNO You should n't have done that, Guy. GUY -LRB- subsiding. -RRB- Come on - pull yourself together. Do your tie up. Bruno staggers to his feet. He fumbles at his collar. As he crosses to him, CAMERA MOVES IN to a CLOSER SHOT. GUY Here - let me. He fixes Bruno's shirt and collar together and quickly ties his white bow. Bruno stands swaying like a small boy as Guy does this. CAMERA PANS WITH THEM as Guy starts to escort Bruno from the room. GUY Have you got a car here? BRUNO -LRB- mumbling. -RRB- Driver's outside. They pass trough door into the hallway.", "INT. HALL MEDIUM SHOT One or two of the guests turn their heads as Guy takes Bruno across to the front door. CLOSE SHOT Barbara appears in the hallway, coming from the crowded sitting room. She watches the two men go out the front door. MEDIUM SHOT Bruno and Guy going out the front door. The man - servant does not close it immediately, so we are able to HEAR the call for Mr. Antony's car. CLOSEUP BARBARA She turns her head and looks up the stairs. Barbara has not quite recovered from her ordeal. She hurries forward to greet Anne who is hurrying down the stairs. TWO SHOT CAMERA PANS DOWN with Anne as she descends the last few steps. Barbara enters the picture and the two girls meet at the foot of the stairs. ANNE What's the matter, Barbara? Did you see it happen? Did you see it - all? CLOSEUP BARBARA BARBARA -LRB- still shaken. -RRB- He looked at me! His hands were on her throat, but, he was strangling me! CLOSEUP ANNE ANNE -LRB- aghast. -RRB- How do you mean? TWO SHOT BARBARA He was looking at her first. Then he looked over at me. He went into a sort of trance. -LRB- shudders. -RRB- He looked horrible! -LRB- reflectively. -RRB- He thought he was murdering me. CLOSEUP ANNE She looks away, with growing consciousness of the situation TWO SHOT BARBARA Anne, why me? Why me? What did I have to do with it? Anne is extremely concerned and thoughtful. Suddenly she gets an idea and with a pat on Barbara's arm, asks hurriedly : ANNE Do you know where Guy is? BARBARA He went out with that man! Anne hurries to the front door and passes through.", "EXT. HOUSE Anne comes out onto the steps and looks around. She stops short as she sees : LONG SHOT EXT.. STREET FROM ANNE'S VIEWPOINT There are cars lined up outside on the street. One limousine is pulling up in the center, two figures at the passenger door. One is climbing in. The other is Guy. CLOSEUP ANNE She calls out urgently : ANNE Guy! CLOSE SHOT Guy turns and closes the door. MEDIUM SHOT FROM ANNE'S VIEWPOINT The limousine moves off and Guy comes toward her. MEDIUM SHOT Anne comes down the steps and intercepts Guy on the sidewalk. She leads him along a few paces and then stops and faces him. CLOSE TWO SHOT Anne nods off in the direction of the departed Bruno and speaks in a desperate, low voice. ANNE You did n't meet him for the first time the other day, did you, Guy? Guy stares at her for a moment. GUY You mean when you introduced us at the club? ANNE Yes. Did you notice how he stared at Barbara that day? GUY -LRB- awkwardly. -RRB- Well, I did n't - particularly - ANNE -LRB- breaks in. -RRB- He stared at her again tonight - while his hands were around Mrs. Cunningham's throat. Guy looks at Anne with an expression of growing fear and alarm. She goes on inexorably : ANNE What did Miriam look like, Guy. GUY -LRB- awkwardly. -RRB- Well, why do you ask me? You've seen her pictures in the paper. ANNE Go on, I want you to tell me. GUY -LRB- haltingly. -RRB- Well, she was dark, not too tall, rather pretty - ANNE What else? GUY What else is there? ANNE She wore glasses, did n't she? GUY Yes. ANNE She looked a lot like Barbara, did n't she? Guy suddenly begins to realize what Anne is getting at. Anne lowers her head, deliberately avoids looking at Guy, as she asks : ANNE How did you get him to do it, Guy. GUY I get him to do it? ANNE He killed Miriam, did n't he? Tell me, Guy! GUY Yes. -LRB- suddenly bursting out. -RRB- He's a maniac. I met him on the train going to Metcalf. He had a crazy scheme about exchanging murders. I do his murder and he do mine. ANNE -LRB- quietly. -RRB- What do you mean - your murder, Guy? GUY Well, he'd read about me in the paper. He knew about Miriam - and about you. He suggested that if he got rid of Miriam for me, I should kill his father. ANNE You must have realized he was talking a lot of nonsense! GUY Of course! I did n't give it another thought. And now a lunatic wants me to kill his father. ANNE -LRB- beginning to believe. -RRB- It's too fantastic! GUY -LRB- grimly. -RRB- Yes, is n't it? ANNE You mean you've known about Miriam all this time? GUY Since the first night. He gave me her glasses. ANNE Why did n't you call the police? GUY -LRB- bitterly. -RRB- And have them say what you did - `` Mr. Haines, how did you get him to do it?'' And Bruno would say we'd planed it together. ANNE Oh, Guy - what can we do? GUY I do n't know, Anne. I do n't know. ANNE -LRB- With an anxious look across the street. -RRB- Guy, had n't we better go inside? Your friend Hennessy's watching us. -LRB- she Shudders. -RRB- GUY -LRB- sadly. -RRB- You see, Anne, that's why I did n't want you to know anything about this. I wanted to protect all of you - your father, Barbara. And now that you know, you're acting guilty, too. ANNE -LRB- desperately. -RRB- Oh, if we could only talk to father or someone about it. GUY No, that's no good, Anne. I must n't drag anyone else into this mess. Come on. Let's go in. They go toward the house. TWO SHOT ACROSS THE STREET As Hennessy watches Anne and Guy go toward the house, his relief, HAMMOND, comes up. Hammond's a zealous, hard - eyed sleuth. HENNESSY -LRB- a little glum. -RRB- Hello, Hammond. HAMMOND You look worried. What's the matter? HENNESSY You'd better keep on your toes. Something funny's going on.", "INT. GUY'S APARTMENT LATER THAT NIGHT Still in his dinner clothes, Guy is seated in deep thought near the telephone, wrestling with his problem. There is an open telephone directory in front of him. He comes to a decision, picks up the telephone and dials a number. He waits for the answer, then : GUY Bruno? Yes, yes, it's Guy. I've decided to do what you want. I'll make that little visit to father. -LRB- listens a moment. -RRB- Tonight. -LRB- listens another moment. -RRB- Yes, I want to get this thing over with, can you leave the house again, Bruno? -LRB- pause. -RRB- You'd better stay out till daylight. Guy hangs up, rises and starts to move with purpose for his night's activities.", "INT. GUY'S APARTMENT NIGHT Guy is sitting at the table. He is dressed differently, having changed from his dinner clothes to a sack suit. There is only one lamp lighted in the room. Guy presents a grim picture. He is studying the plan of Bruno's house, and he picks up the key Bruno sent along with it. Finally he looks at his watch, then folds the plan and puts it in his pocket with the key. He rises, crosses to the chest of drawers, opens the top drawer. INSERT : THE OPEN DRAWER Guy's hands take out the Luger. His hand then picks up Miriam's glasses from the drawer, holds them a moment. He is about to put them back, then decides to take them along, puts them into his pocket. MED. SHOT CAMERA PANS GUY across to the window. He parts the curtains slightly and looks out. MED. SHOT ON STREET -LRB- FROM GUY'S VIEWPOINT -RRB- Hammond is lighting a cigarette as he strolls in front of the house.", "INT. GUY'S APARTMENT Guy crosses to his door, which he opens surreptitiously. MED. SHOT CORRIDOR Guy glances down the stairs, then closes the door behind him quietly and moves away to a window at the turn of the stairs.", "EXT. FIRE ESCAPE Guy comes out of the window onto the second floor fire escape. He creeps stealthily down and emerges into a narrow alleyway. He steps back into the shadows for a moment when he sees : LONG SHOT FROM GUY'S VIEWPOINT -LRB- PROCESS -RRB- The strolling figure of Hammond on the far side of the street. MED. SHOT Guy turns away and is soon lost in the darkness of the street.", "EXT. A TALL PAIR OF ELABORATE IRON GATES NIGHT We are on the inside of the gates. We see them swing open slightly and the figure of Guy edges through them. CLOSE SHOT Guy leaves the gates ajar and then, taking the plan of Bruno's house from his pocket, and the key, he looks toward the house.", "EXT. STEPS LONG SHOT NIGHT This is a long flight of steps. Moonlit. They are lined with tall black cypress trees which throw their shadows across the steps. Guy moves out of one shadow, into another and carefully starts up the stairs. AT THE DOOR He pauses, looks about for a moment and listens. Then he puts the key into the lock, finding it with his flashlight. The door opens a few inches. He turns off the flash, and enters.", "INT. ANTONY HOME ENTRANCE HALL As Guy moves in soundlessly and closes the door. He looks toward the stairs which are in shadow. MED. SHOT Guy starts up the stairs slowly. He carries his flashlight and the plan. AT THE TOP OF THE STAIRS THE DOG A huge shadow lies it the head of the stairs. As Guy comes slowly up the stairs, the Great Dane looks down at him. GUY ON THE STAIRS He reacts to the sight of the dog, stops an instant, and turn on his flashlight. The heavy massive face of the dog looks straight down at him. Guy turns off the flashlight and after a moment of indecision starts slowly up the stairs once more, the dog watching every step he takes. UPPER HALLWAY Guy comes up the last few stairs and still the dog has n't moved. Guy slowly edges past him and the Great Dane's head turns to watch him. GUY moving quietly along the hallway, approaches two doors. He takes out his flash and identifies the door with his plan. The plan shows two doors in relation to the stairway. The first one is clearly marked : `` MY room.'' The adjoining door is marked : `` My FATHER'S room.'' CLOSE SHOT GUY He pauses at the first door, then passes it quietly, walking on to the next one. He turns the knob soundlessly and passes through into the room.", "INT. ANTONY BEDROOM LONG SHOT The room is in darkness except for the dim outline of the recumbent figure in the bed. We hear Guy's voice, in a loud whisper : GUY Mr. Antony! The figure stirs. ANOTHER ANGLE Guy takes a stop closer to the bed. GUY -LRB- urgently. -RRB- Mr. Antony! Do n't be alarmed - but I must talk to you about your son. About Bruno. Mr. Antony! The figure on the bed turns and a hand stretches out toward a bedside light. The light goes on with a sudden glare. CLOSEUP FACE OF BRUNO IN THE LIGHT -LRB- LOW CAMERA -RRB- The low CAMERA throws a vast shadow up on the wall behind him, creating a grimace of his smile. BRUNO Yes, Mr. Haines? CLOSEUP GUY His face is dead. MED. SHOT Bruno rises from the bed and sits on the and of it. He is fully dressed, just as he was at the party, in white tie and tails. BRUNO -LRB- politely. -RRB- My father is n't home tonight, Mr. Haines. -LRB- smiles grimly at Guy's surprise. -RRB- I was about to tell you that over the phone. But you came to such a sudden decision. I wondered why. GUY -LRB- recovering quickly. -RRB- Since you sent me a key to your house, I decided to use it - to make a little social call on your father. I thought he'd be Interested to know he his a lunatic son. The faintest flicker of Bruno's eyes indicates the intensity of his reaction. He stares hard at Guy. BRUNO Then a I correct, Mr. Haines, in assuming that you have no intention of going ahead with our arrangement? GUY No intention whatsoever. I never had. BRUNO I see. You wo n't have any further use for the key, then, Mr. Haines. -LRB- he holds out his hand and Guy gives him the key. -RRB- Thank you very such. As Bruno continues to stare at him, Guy takes out the Luger. For a moment a look of fear comes into Bruno's face as he thinks Guy will probably shoot him. After a pause, Guy tosses the gun on the bed. GUY Or this. Bruno's relief turns again to menace. He picks up the gun and fingers it nervously. GUY -LRB- kindly. -RRB- Look, Bruno. You're terribly sick. -LRB- haltingly. -RRB- I do n't know whether it's possible for you to realize it or not. I do n't know much about these things, Bruno. But why do n't you go someplace where you can get some treatment? Not only for your own sake, Bruno, but you ca n't go on causing more and more destruction to anyone you happen to meet. Bruno pays no attention. He rises. TWO SHOT Guy's arguments have made no impression on Bruno whatsoever. He fingers the gun. BRUNO I do n't like to be doublecrossed. I have a murder on my conscience, but it's not my murder, Mr. Haines - it's yours. And as you're the one to profit, I think you should be the one to pay for it. For an instant his nervous hands seem to be struggling with the urge to kill Guy. GUY -LRB- gives up. -RRB- Well, I guess it's no use, Bruno. We sees to have nothing further to discuss. Bruno goes to the door in silent acquiescence and opens it for Guy to pass through.", "INT. HALLWAY MED. SHOT Guy walks toward the stairs, tense and apprehensive. Bruno is following him, still holding the gun. When the Great Dane sees Bruno it gets to its feet, as if waiting for a command. Guy starts down the stairs but Bruno stays where he is, the dog beside him. Gay turns and looks back it this tableaux of menace. BRUNO Do n't worry. I'm not going to shoot you, Mr. Haines. It might disturb mother. -LRB- with a feeling of power. -RRB- I'm a very clever follow. I'll think of something better than that. Much better. LONG SHOT Bruno remains in the foreground of the scene as Guy proceeds on down the stairs. We see him open the front door and pass through.", "EXT. STREET ACROSS GUY'S APARTMENT EARLY CLOSE SHOT HENNESSY AND HAMMOND MORNING Hennessy is relieving Hammond who has kept watch on Guy's apartment night. HAMMOND -LRB- in the middle of his story. -RRB- He came back at three twenty - five. I did n't even know he'd given me the slip until his ` phone kept ringing for about half an hour. Nobody sleeps that sound. So I got the janitor to let me in. No Haines. HENNESSY -LRB- to himself. -RRB- Wonder where he went? HAMMOND We'll probably hear of another dame murdered. HENNESSY -LRB- puzzled. -RRB- Shut up. I'd better contact Metcalf. I should think this calls for more questioning of Mr. Haines. HAMMOND Questioning? Nuts! Let's take him in. HENNESSY My dear Mr. Hamond, how many times do I have to tell you that we have nothing conclusive on Haines? There's no evidence that he was ever at the scene of the crime. Ca n't you get that into your thick head? -LRB- quietly. -RRB- Now stay put till I get back. As he starts away - FADE OUT. FADE IN", "INT. ANTONY LIVING ROOM LATE MORNING Anne and Mrs. Antony are in the middle of a conversation. Anne's manner is tense and purposeful, Mrs. Antony's much less serious. MRS. ANTONY Oh, now, Miss Burton, really! I know Bruno's been in some very awkward scrapes, but nothing so ridiculous as a murder. -LRB- she gives a short little laugh. -RRB- ANNE -LRB- desperately. -RRB- But, Mrs. Antony, you've got to make him do something about this. Do n't you see that just one word from him would extricate Guy from this dreadful situation? MRS. ANTONY -LRB- lightly. -RRB- Oh, but Miss Burton, I'm sure this thing must be some practical joke. You know, Bruno sometimes goes too far. -LRB- girl to girl. -RRB- Of course I should n't be saying this to an outsider, but sometimes he's terribly irresponsible and gets into all kinds of escapades. ANNE But do n't you understand, Mrs. Antony - your son is responsible for a woman's death. MRS. ANTONY -LRB- drawing herself up with some hauteur. -RRB- Did Bruno tell you this? ANNE Of course not, Mrs. Antony. MRS. ANTONY -LRB- that settles it. -RRB- Well, there you are. -LRB- she sighs and rises, winding it up. -RRB- Well, Miss Burton, it was very nice of you to call. You must excuse me now. I must get back to my painting. Do you care for painting, Miss Burton? I find it so soothing. -LRB- shakes Anne's hand. -RRB- You must come again sometime. She goes out. Anne is left helpless, standing in the middle of the room. She picks up her purse and is about to go when she hears a voice : BRUNO'S VOICE Oh, Miss Burton! Anne turns back in direction of the voice. CAMERA PULLS BACK until we can see the feet of Bruno protruding from behind a chair in which he is sitting. He has obviously heard the entire conversation between Anne and his mother. Bruno rises. He is in dressing gown and pajamas. BRUNO I'm afraid mother was n't very helpful, was she? -LRB- he strolls toward Anne. -RRB- You know she has n't been well for a long time. She's a little - how shall I say - confused. -LRB- shakes his head commiseratingly. -RRB- Poor mother. Anne is too stunned to speak. BRUNO You know, I'm very upset with Guy. He should n't have sent you on an errand like this. ANNE Guy does n't know I'm here, Mr. Antony. BRUNO He's been leading you up the garden path, I'm afraid. He must be very desperate to try to involve me. I've been protecting him ever since we had that conversation on the train and he told me how he hated his wife. Bruno is now standing near the window a little apart from Anne, with his back to him. He takes something out of the pocket of his dressing gown and looks down at it in his hand. It is Guy's lighter. Suddenly he stuffs it back his pocket and turn back to Anne. BRUNO Why, do you know, Miss Burton, he tried to get me to go back to the island one night after dark and pick up his lighter so the police would n't find it? He dropped it there, you know, when - well, that night. Anne's horror is growing. BRUNO The whole thing's been worrying me so much. But of course I could n't do it, Miss Burton. It would have been too risky. And besides, it would have made me an accessory. Anne stares at this insane man and sinks on the settee. She starts to cry in sheer frustration. Bruno goes to her sympathetically. BRUNO Miss Burton, I know how you feel. He puts his hand on her shoulder. Anne flings it off. There is an awkward pause as Bruno looks down at her. Then he begins to look around restlessly. BRUNO Miss Burton, you must excuse me. I have an urgent appointment. -LRB- looks it his watch. -RRB- I must go up and change. Now, I really must go. if you'll excuse me. He turns, starts out of the room and up the stairs in the hall. Anne watches him. STAIRWAY FROM ANNE'S VIEWPOINT Bruno turns and waves to Anne from the landing, then goes on up the stairs.", "INT. LIVING ROOM MED. SHOT Anne slowly rises, a lonely figure in the large room, and makes her way out. LONG SHOT FOREST HILL STADIUM Grouped. A game is in progress. MED. SHOT A TERRACE NEAR THE MAIN STADIUM -LRB- PROCESS -RRB- where people get refreshments. There are various table with umbrellas. MED. SHOT AT ONE OF TABLE -LRB- PROCESS -RRB- Anne and Guy are seated at the table. ANNE And he said that if the police found your lighter there, that's all they'd need - something to prove you were at the scene of the murder. GUY -LRB- grimly. -RRB- That big lie about my wanting him to get it back means he's going to put my lighter on that island! ANNE -LRB- urgently. -RRB- Guy, you'll have to get there before he does. You wo n't have time to play, You'd better tell them. -LRB- she nods her head in the direction of the center court. -RRB- GUY Darling, if that loudspeaker announces that I'm not going to play, Hennessy bound to be suspicious He'd keep me from ever getting near Metcalf. ANNE Then I'll go. GUY -LRB- quickly. -RRB- No, darling. -LRB- he puts his hand on hers and speaks firmly, with concern for her safety as well as for his own situation. -RRB- You stay right here and help me give Hennessy the slip after the match. ANNE But, Guy, that'll be too late! GUY -LRB- getting a thought. -RRB- Did n't Bruno say that I wanted him together there one night after dark? ANNE Yes. GUY Well, that's what's in his mind now. He's not going to expose himself in broad daylight, If I can finish off this match in three sets, I'll still get there in time. REYNOLDS, Guy's opponent, enters scene behind Guy's chair. REYNOLDS We're on in a few minutes, Guy. -LRB- to Anne. -RRB- How are you, Miss Morton. Anne acknowledges his greeting with a nod. GUY Okay, Tim. Be right with you. Reynolds leaves Anne and Guy rise, and as they walk toward the stadium, we can see Guy start to speak to Anne in a whisper. ENTRANCE TO COVERED STAND ALREADY SHOT Hennessy and Hammond are standing by. HAMMOND Well, if Turley said to pick him up for questioning, let's pick him up! HENNESSY Let him have his game first, Hammond. HAMMOND -LRB- sourly. -RRB- This is the first time I ever waited for a murder suspect to play tennis before I pulled him in. When the boys it headquarters heir about this they'll send me orchids. Guy and Anne come into the scene just as the players from the previous match emerge. They pass through, nodding to Hennessy. HENNESSY Good luck, Guy. Guy is so preoccupied with his grim does n't nod to Hennessy until Anne nudges him. INSIDE THE STAND MED. SHOT Anne is reluctant to leave Guy who must now join his opponent, Reynolds. GUY You got it straight? -LRB- ANNE nods. -RRB- Just make sure Barbara has everything ready as soon as the third set starts. He goes on to the court, and Anna goes to her box. MED. SHOT Anne joins Barbara in the box. She starts to whisper something to her. LONG SHOT Guy and Reynolds complete their warm - up as the umpire announces that Guy is to serve. The game starts.", "EXT. ANTONY HOME A taxi is at the front door. Bruno is descending the steps. He gets into the cab, which moves off. FOREST HILLS MED. SHOT ANNOUNCER'S BOOTH -LRB- PROCESS -RRB- Over the shoulder of the announcer WE SEE the game in progress through the window of his booth. ANNOUNCER - It looks like an interesting match with Haines constantly charging the net - not like Haines at all - to press so early in the game. MED. SHOT TEN COURT Guy and his opponent, Reynolds, in play. Guy scores a point. CLOSEUP THE UMPIRE He announces game to Haines. MED. LONG SHOT We see the two men change ends and come toward the Umpiri's chair. Reynolds stops to take a drink of water. Guy, with an impatient glance at him, moves over to the passing line and waits, the CAMERA going with him.", "EXT. WASHINGTON STREET A taxicab is seen coming along. MED. SHOT INSIDE CAB -LRB- PROCESS -RRB- Bruno is sitting with in unlighted cigarette in his mouth. CAMERA MOVES IN until he is in big CLOSEUP. His eyes look down. There is the SOUND of a click, then, Guy's lighter comes up into the picture held against the cigarette. FADE IN LONG SHOT FOREST HILLS STADIUM Grouped. A game is in progress. MED. SHOT A terrace where people get refreshments. There are various tables with umbrellas. MED. SHOT AT ONE OF TABLE -LRB- PROCESS -RRB- Guy is seated. He has his rackets with him and is waiting his turn to start his match. An official is talking to him but Guy keeps looking around as if expecting someone. OFFICIAL Well, at least there'd be a trip to Australia, if you made it. GUY -LRB- absently. -RRB- We'll know more about that by the end of the week. -LRB- his face brightens as he sees Anne. -RRB- Anne hurries in, nods briefly to the official who has started to leave, and sits down. OFFICIAL They're close to the finish, Guy GUY Be right there. -LRB- turns to Anne. -RRB- I was afraid you would n't get here. Wish me luck, darling. He makes a move as if to follow official toward the stadium, but Anne puts hand on his arm. ANNE -LRB- quickly and urgently. -RRB- Guy, listen to me, If I sound all mixed up I ca n't help it. I - I'm scared. GUY What about? ANNE That's just it. I do n't know. It's Bruno. I talked to him, Guy - Guy stares at her, takes a quick look toward the stadium, then gives Anne his full attention. ANNE He acted peculiar - as if he could put the murder right in your lap, and not involve himself at all. GUY -LRB- shaking his head. -RRB- He'd drag himself into it, - and Bruno loves Bruno. I'm all right so long as he thinks I have an alibi for that night. -LRB- noticing the stricken look on Anne is face. -RRB- He knows? Anne nods slowly. GUY -LRB- grimly. -RRB- Then he'll think of something. He said he would. ANNE Guy, has he anything that the police could trace to you -. -LRB- quoting Bruno. -RRB- Any little thing. GUY My cigarette lighter. He said once he could have left it on the islands as evidence. -LRB- a pause. -RRB- But he would n't do that. Not in broad day light. ANNE -LRB- trying to think. -RRB- But he's going somewhere, Guy. He told his mother - GUY -LRB- tensely. -RRB- Metcalf - did he say Metcalf? ANNE No, - I do n't think so. Oh, why ca n't I remember - he said such crazy things! GUY -LRB- tensely. -RRB- Try to think, Anne! VOICE -LRB- OFFSCENE. -RRB- Guy Haines! - Reynolds! While Anne is frantically trying to remember, Guy turns toward, the stadium and gives a signal of `` Be right there.'' ANNE Something about the moon - he said he had an appointment with the moon. Guy's shoulders droop with disappointment. GUY That's no help. But I ca n't take any chances. I've got to get that lighter - somehow. REYNOLDS, Guy's opponent, ENTERS SCENE behind Guy's chair. REYNOLDS Okay, Guy. We're on. He walks away. Anne and Guy rise, following him. GUY I'll have to default. ANNE And have Hennessy and that other one right at your heels? Guy's expression says she's right, as they walk toward the stadium. ENTRANCE TO COVERED STAND Hennessy and Hammond, the two detectives, are standing by. HAMMOND First time I ever waited for a killer to play tennis before I nabbed him! When the boys at headquarters hear about this they'll send me an orchid! HENNESSY We got our orders. We take him in - after the match. Guy and Anne come INTO THE SCENE just as the players from the previous match emerge. They pass through, nodding to Hennessy. HENNESSY -LRB- a little sadly. -RRB- Good luck, Guy! Guy gives him a thank - you nod. Hammond rolls his eyes in disgust at Hennessy's politeness. INSIDE THE STAND MED. SHOT Anne is about to turn to her box but she is reluctant to leave Guy, who must now join his opponent, Reynolds. As their eyes hold, in mutual helplessness, Guy suddenly stares at her with realization. GUY The moon! You said he had an appointment - Anne looks puzzled as Guy looks up at the sun, then at his watch. GUY Then he is going to Metcalf. But he has to wait until it gets dark -. -LRB- with frantic haste, he thinks quickly, then murmurs to Anne. -RRB- Listen, Anne, as soon as the third set starts, tell Barbara - MED. CLOSE SHOT REYNOLDS waiting at the bottom of steps to the stand. Guy joins his opponent, and Anne goes to her box. Guy and Reynolds move onto the court amid the rounds of applause that greet them. MEDIUM SHOT ANNE JOINS BARBARA In the box. She starts to whisper something to her. LONG SHOT Guy and Reynolds complete their warm - up as the umpire announces that Guy is to serve. The game starts.", "EXT. ANTONY HOME A taxi is at the front door. Bruno is descending the steps. He gets into the cab, which moves off. FOREST HILLS MED. SHOT ANNOUNCER'S BOOTH Over the shoulder of the announcer WE SEE the game in progress through the window of his booth. ANNOUNCER It looks like an interesting match - with Haines out to blast Reynolds into a fast fight, - not like Haines at all - to press so early in the game. MED. SHOT THE COURT Guy and his opponent, Reynolds, in play. Guy scores a point. CLOSEUP THE UMPIRE He announces game to Haines. MED. LONG SHOT We see the two men change ends and come toward the Umpire's chair. Reynolds stops to take a drink of Water. Guy, with an impatient glance it him, moves over to the passing line and waits, the CAMERA going with him.", "EXT. WASHINGTON STREET A taxicab is seen coming along. MED. SHOT INSIDE TAXI CAB Bruno is sitting with an unlighted cigarette in his mouth. CAMERA MOVES IN until he is in big CLOSEUP. His eyes look down. There is the SOUND of a click, then Guy's lighter comes up into the picture held against the cigarette.", "INT. ANNOUNCER'S BOOTH FOREST HILL The announcer is broadcasting the progress of the match and we learn from him that this first set is nearly finished. LONG SHOT THE COURT Guy and Reynolds in play. MED. SHOT Anne and Barbara sitting in their box watching the play anxiously. MED. SHOT At the entrance to the covered stand. The two detectives Hennessy and Hammond, are watching. Hammond is bored by this game. HAMMOND Stupid game. You'd never get me into them short pants. I'd feel naked. HENNESSY -LRB- his eyes intent on the game. -RRB- You'd feel naked in an Eskimo suit - if you were n't wearing your badge. MED. SHOT Guy playing hard but holding his own. MED. SHOT Reynolds, his opponent, playing back. LONG SHOT The big crowd watching. MED. SHOT Guy scores point over Reynolds. MED. SHOT There is general applause from the crowd in the covered stand as we HEAR the Umpire's announcement. UMPIRE'S VOICE -LRB- O.S. -RRB- Mr. Haines wins the first set.", "EXT. UNION STATION WASHINGTON D.C. We see Bruno get out of a cab and pass into the depot. LONG SHOT FOREST HILLS The game in process. MED. SHOT A nearer view of the game. CLOSE SHOT GUY IN PLAY volleying with Reynolds. CLOSE SHOT Reynolds playing the covered stand people are concentrating. MED. SHOT Guy misses a point and the game. He and Reynolds make for the Umpire's chair. We HEAR the Umpire announce. UMPIRE'S VOICE Game to Mr. Reynolds. Games are two all. Second set.", "INT. UNION STATION WASHINGTON, D.C. Bruno is casually waiting for the train. He stands near a news - stand reading a paper. We see that the paper is open at the sports page. There is a picture of Guy among other tennis players. WITH A DISSOLVE the whole character of this page changes with the exception of Guy's picture, which becomes surrounded with large type, announcing the arrest of Guy Haines for the murder of his wife Miriam. A sub - heading tells of Guy's cigarette lighter found at the scene of the crime. All this DISSOLVES AWAY and the page becomes once more the sports section. CLOSEUP Bruno looks up with satisfaction. LONG SHOT FOREST HILLS The crowd watching. MED. SHOT Guy and Reynolds in play. MED. SHOT Guy playing hard. MED. SHOT Reynolds playing back. CLOSEUP The Umpire watching the game. Suddenly he announces : UMPIRE Game to Mr. Reynolds. Games are three all. second set.", "INT. CLUB CAR ON TRAIN Bruno is now seated in his accustomed place in the club car. His gloved fingers are quietly toying with Guy's lighter. A passenger next to him asks : PASSENGER May I have a light, please? Bruno looks at him for a moment and then at the lighter. With great deliberation he puts the lighter away in his pocket and takes out book - matches. Lighting a match, he holds it to his fellow passenger's cigarette. LONG SHOT FOREST HILLS The game as seen from under the covered stand. MED. SHOT Anne and Barbara very tense. CLOSEUP GUY about to serve, looks anxiously across the court. CLOSEUP THE CLOCK CLOSEUP GUY as he serves. CLOSEUP REYNOLDS returns. CLOSEUP BALL hits the net. CLOSEUP UMPIRE announces. UMPIRE Second set to Haines. Haines leads two sets to love. There is a round of applause. We see the heads of the two players reach the Umpire's chair. Guy, very anxious still, as he wipes his neck with a towel.", "INT. COVERED STAND CLOSE SHOT ANNE BARBARA Anne is speaking. ANNE If he wins this next set - you'd better have everything ready. -LRB- takes bill from her purse and hands it to Barbara. -RRB- Here - give the driver this ten dollars. BARBARA -LRB- puzzled. -RRB- I wish understood what this is all about! ANNE -LRB- urgently. -RRB- You do n't have to understand, just do it. And for heaven's sake, act natural. Barbara nods and goes along. ENTRANCE TO COVERED STAND Barbara smiles winningly at Hennessy as she goes through. Her interpretation of `` acting natural'' is exaggerated and rather comical. Hammond's eyes narrow as he looks after her suspiciously. LONG SHOT The game in progress. Guy starts the next set. He serves. MED. SHOT Reynolds returns. MED. SHOT Guy volleys. MED. SHOT Reynolds puts the ball in the air. CLOSE SHOT Guy smashes. CLOSE SHOT The ball hits the net. CLOSEUP UMPIRE UMPIRE Love fifteen. LONG SHOT THE CROWD We HEAR the smash of the ball and the voice of the Umpire. UMPIRE'S VOICE -LRB- O.S. -RRB- Love thirty. CLOSEUP ANNE looking very worried. Again the call of the Umpire. UMPIRE'S VOICE -LRB- O.S. -RRB- Double fault. Love forty.", "INT. THE ANNOUNCER'S BOOTH The announcer telling his listeners that Guy Haines seems to be a little reckless. ANNOUNCER - Haines has n't let up his terrific pace for an instant, smashing every ball with a recklessness we've never seen in his playing. It's beginning to look as if he does n't care whether he wins or loses because he's in a hurry - an awfully big hurry -", "EXT. METCALF STATION We see Bruno alight from the train. He makes his way in the direction of the town. MED. SHOT METCALF STATION As Bruno comes toward us, he stands on the sidewalk and then takes the lighter from his pocket once more. At this moment a hurrying passenger on his way to the depot accidentally jogs Bruno's elbow. The lighter flies from his hand. CLOSE SHOT We see it fall through the bars of a grating by the sidewalk. CLOSEUP BRUNO looks down in dismay. FOREST HILLS MED. SHOT The game in progress. Guy and his opponent playing hard. Guy misses a point. We HEAR the Umpire's call. UMPIRE'S VOICE -LRB- O.S. -RRB-. Game to Mr. Reynolds. Mr. Reynolds leads five games to three in the third set.", "EXT. METCALF STATION Bruno is leading a porter toward the grating, pulling him by the arm. They reach the drain. BRUNO Down there - my - my cigarette -. -LRB- catches himself - not wanting to say `` cigarette lighter''. -RRB- case. It's very valuable. PORTER -LRB- peering down. -RRB- Down here? BRUNO You've got to get this grating up right away. Two passersby enter. FIRST PASSERBY What's the trouble? BRUNO -LRB- yelling. -RRB- Ca n't we do something! -LRB- to passerby. -RRB- I dropped my cigarette case. PORTER -LRB- looking down. -RRB- Might n't be any good, mister. Probably gone down the storm drain. BRUNO -LRB- horrified. -RRB- Storm drain? FIRST PASSERBY On the other hand, it might have lodged on the edge. SECOND PASSERBY Do n't they have a trap down there - like under a sink? BRUNO -LRB- excited. -RRB- Do n't just stand here - do something! PORTER -LRB- calmly. -RRB- Guess we could phone the city engineer, all right. Worst he could do would be to tell me to take a running jump and -. -LRB- Bruno grabs his arm. Porter shakes Bruno off. -RRB- Relax, mister. BRUNO I do n't want to relax. He goes on his knees and forces his arm down the drain.", "INT. THE ANNOUNCER'S BOOTH FOREST HILLS ANNOUNCER -LRB- with great excitement. -RRB- This is more than a tennis game, ladies and gentlemen - it's a desperate fight with Guy Haines playing as if his life depended on it! MED. SHOT Guy is volleying. MED. SHOT Reynolds lobs. CLOSEUP Guy smashes. CLOSE SHOT Reynolds lobs again. CLOSE SHOT Guy smashes. CLOSE SHOT Reynolds misses and the ball hits inside the line. CLOSEUP The Umpire calling. UMPIRE Game to Mr. Haines. Mr. Reynolds leads five games to four. third set.", "EXT. METCALF STATION MED. SHOT A few more passersby have stopped to watch Bruno, whose arm is pushed through the grating. CLOSEUP Bruno's face - straining. CLOSEUP Under the grating Bruno's hand is groping. His fingers are a long way from the lighter. LONG SHOT FOREST HILLS with the game in progress. MED. SHOT EXT.. CLUB A taxi has pulled up. Barbara gets out. CLOSE SHOT She takes the ten dollar bill from her purse and passes it to the driver. She gives a final look inside the cab. CLOSEUP On the seat are Guy's everyday pants, laid out. MED. SHOT Barbara hurries out of the picture toward the club. LONG SHOT The crowd watching. CLOSEUP The tense face of Anne. CLOSEUP The Umpire is somewhat impressed.", "INT. THE ANNOUNCER'S BOOTH CLOSEUP The announcer is telling his listeners that the score is now six - five in favor of Haines. That he has pulled up wonderfully and only needs one more game to win the match.", "EXT. COVERED STAND ENTRANCE Barbara, very nervous but trying to `` act natural'', passes Hennessy and Hammond. Hammond's eyes again follow her, but Hennessy is intent on the game. MED. SHOT FEATURING BOX As Barbara joins Anne, she gives her a surreptitious signal by ringing her thumb and forefinger, indicating everything is set. CLOSE SHOT Guy now playing hard. CLOSEUP His racket smashing at the ball. CLOSEUP Reynolds and his racket hitting the ball back. CLOSEUP THE UMPIRE CALLING UMPIRE Advantages, Mr. Haines. CLOSEUP Guy serving. CLOSEUP His ball hitting the racket. CLOSEUP The ball in the net. CLOSEUP A second ball hitting the net. The Umpire's voice calling : UMPIRE'S VOICE -LRB- O.S. -RRB-. Duece!", "EXT. METCALF STATION A LOW SHOT ON Bruno bent over the grating and the onlookers behind him. BIG HEAD CLOSEUP BRUNO straining and panicky. CLOSEUP Under the grating, Bruno's fingers get near the lighter, and in their groping, they knock the lighter off the ledge, onto the ledge below. CLOSEUP Bruno's horror - stricken face. FOREST HILLS MED. SHOT Guy still playing. CLOSE SHOT Barbara standing with Hennessy, watching. We HEAR the score. UMPIRE'S VOICE -LRB- O.S. -RRB-. Advantage, Mr. Reynolds. CLOSEUP ANNE unable to bear the suspense. She glances O.S. MED. SHOT The waiting cab. CLOSE SHOT Guy and Reynolds in play. UMPIRE'S VOICE -LRB- O.S. -RRB-. Score is deuce. CLOSE SHOT Reynolds serves. CLOSE SHOT Guy volleys. He waits for the return ball. He misses it. UMPIRE'S VOICE -LRB- O.S. -RRB-. Advantage, Mr. Reynolds.", "EXT. METCALF STATION ANGLE SHOOTING THROUGH the grating at CLOSEUP BRUNO'S HEAD AND SHOULDERS staining. CLOSEUP Under the grating, Bruno's fingers go lower and lower, straining to reach the lighter, which is still a few inches out of reach. FOREST HILLS MED. SHOT Guy is volleying with Reynolds.", "INT. ANNOUNCER'S BOOTH He is very excited. ANNOUNCER - Haines has n't let up for a moment. If he wins this set, he wins the whole match! CLOSEUP ANNE AND BARBARA in their box. They are extremely tense. MED. SHOT Guy slams hard a shot that wins him the game. LONG SHOT CROWD applauding and shouting. CLOSE SHOT ANNE AND BARBARA At an urgent signal from Anne, Barbara hurries out as if she knew what she had to do. LONG SHOT Guy shakes hands with his opponent, and then hurries across to Anne in the stand. He leans over the front of the box. While congratulating him outwardly, she whispers something to him. He leaves his racket with her and hurries away. MED. SHOT STAND ENTRANCE A block of people leaving cut off Hennessy's view. Barbara tries desperately to keep his attention off Guy. BARBARA -LRB- breathlessly. -RRB- Is n't it wonderful, Mr. Hennessy? He won! It calls for a celebration. Anne says you must have dinner with us. Just the family, and you, and Guy. HENNESSY -LRB- awkwardly. -RRB- Sorry I ca n't make it. Business. BARBARA But Guy is your business. You'll be with him, wo n't you? HENNESSY -LRB- a little grimly. -RRB- Yeah - I'll be with Guy. MED. SHOT Guy moving along the front of the stand making for another exit. CLOSE SHOT Barbara takes it for granted that Hennessy will accept her invitation. BARBARA Guy says you love steak - rare, Medium, or well - done? HENNESSY I sure wish I could - SEMI CLOSEUP Hammond is looking off. He calls into the stand. HAMMOND Hennessy! He points off toward Guy. MED. SHOT Guy is hurrying toward the public entrance of the stand. SEMI CLOSEUP Hennessy and Hammond move off, leaving a dismayed Barbara. SEMI LONG SHOT Guy hurrying under the stand toward the waiting cab. MED. SHOT The two men hurrying after him.", "EXT. CLUB Guy goes to the waiting cab and gets in. The cab moves off. MED. SHOT The two men hurry out of the club and stand helplessly looking after the departing cab. They hurry out of the picture. CLOSE SHOT We see them grab another car. It is a chauffeur - driven limousine. Hammond jumps in front and seats himself beside the driver. Hennessy hops in the back. The car moves off.", "INT. LIMOUSINE TWO SHOT Hennessy finds himself seated by an old dowager about seventy - five years of age. She looks startled for a moment and almost recoils from him. He shows her his badge. HENNESSY If you'll pardon us, madam, we need your help. We're chasing a man. The old lady's eyes light up. DOWAGER How exciting. -LRB- she leans forward and calls to the chauffeur. -RRB- Hurry, O'Toole! Hurry! She leans back and maintains her air of excitement as she looks across at Hennessy. CLOSE SHOT INSIDE THE TAXI Guy is busy changing his pants. He glances over his shoulder.", "INT. CAR The two men looking ahead toward Guy.", "EXT. METCALF STATION CLOSEUP BRUN0'S FACE - ANGLE SHOOTING UP to get the peering faces behind him. Bruno still frantically trying to reach the lighter. CLOSEUP Under the grating Bruno's fingers slowly closing in on the lighter. They barely manage to grasp it. CLOSEUP BRUN0'S FACE - triumphant. CLOSEUP Bruno's fist, holding the lighter, comes through the grating. CLOSE SHOT Bruno straightens up. CAMERA BACK as all the onlookers turn their heads in his direction. ONLOOKER You sure must think a lot of that - Whatever it is. Bruno does n't answer. With the lighter in his closed fist, he darts through the crowd, the people looking after him. LONG SHOT The sun is much lower.", "INT. CLUB CAR Guy is now glancing at his watch. The sun is behind him and very much lower.", "EXT. AMUSEMENT PARK Bruno is looking at his watch and then across at the sky. LONG SHOT FROM HIS VIEWPOINT The last trace of the setting sun has gone.", "EXT. METCALF STATION MED. SHOT Guy is stepping off the train. He crosses to a waiting taxi, CAMERA FOLLOWING him. CLOSE SHOT GUY -LRB- to the driver. -RRB- The amusement park, quick. As he gets in the Cab, we go to - CLOSE SHOT MAN watching Guy get into taxi. As we hear the taxi drive away, the man hurries across to a waiting police car. CLOSE SHOT He puts his head in the side window and tells the two waiting detectives where Guy has gone. MAN Amusement park. We see one of the detectives take up a microphone as the car drives off.", "EXT. AMUSEMENT PARK It is now getting dark. MED. SHOT Bruno leaves his spot at the side of the tent and ambles over toward the queue of people waiting for boats. CLOSE SHOT BRUNO joining the queue. He glances ahead of him. MED. SHOT FROM HIS VIEWPOINT We see the light above the pay booth go on, shedding a downward glare. CLOSE SHOT BRUNO pulls his hat a little further over his, eyes. Some new arrivals join the queue behind him.", "INT. TAXI Guy looking anxiously ahead on his way to the amusement park. AMUSEMENT PARK ENTRANCE We see a police car arrive. One uniformed man and two detectives get out of the car and make their way toward the entrance. One of to detectives stands at the entrance while the other two hurry into the grounds. MED. SHOT Guy's taxi arrives. MED. SHOT Across the street, another police car arrives. MED. SHOT At Guy is paying his cab fare, he glances around him. MED. SHOT FROM HIS VIEWPOINT He sees one police car. CLOSE SHOT GUY gives a furtive glance around while waiting for his change. MED. SHOT ANOTHER POLICE CAR MED. SHOT Guy cautiously makes his way toward the entrance to the Amusement Park. MED. SHOT Guy passes the waiting detective and looks off. From his viewpoint we see : MED. SHOT THE TWO DETECTIVES who were at the station indicate Guy is the man. MED. SHOT One detective turns away and starts to follow Guy. CLOSE SHOT BRUNO in the queue of people. He is edging slowly along. He is about ten people away from the entrance. He suddenly looks ahead and sees. FROM HIS VIEWPOINT The uniformed man and the detective are talking casually to the boat men in charge of the concession. DETECTIVE -LRB- to boatman. -RRB- The killer is here tonight. So keep your eyes open and the minute you see him, let us know. CLOSE SHOT The boatman looks at them with an expression of alarm. CLOSE SHOT BRUNO begins to look a little uneasy. We see him begin to mentally deliberate. MED. SHOT Guy, threading his way through the crowds, conscious that he is being followed, but nevertheless, on the lookout for Bruno. CLOSE SHOT BRUNO moving along the line. CAMERA MOVES IN until his head and shoulders fill the screen. He is now coming within range of the flood - lit pay - box. The light seems to creep up across his chest and slowly reveal his face. He lowers his head. MED. SHOT The boatman begins to look along the queue. There is an expression of growing recognition on his face. MED. SHOT Bruno sees this, makes a decision and casually deserts the queue of people. MED. SHOT The boatman hurries across to the uniformed man and begins to talk to him excitedly, looking in Bruno's direction. MED. SHOT GUY Coming along and looking for Bruno. His eyes light up. SEMI - LONG SHOT FROM HIS VIEWPOINT We see Bruno making his way from the queue of people. CLOSE SHOT GUY calls to Bruno. GUY Hey, Bruno. CLOSE SHOT BRUNO gives a quick glance back, sees Guy then he turns and looks off in another direction. SEMI - LONG SHOT The uniformed man and the boatman approaching him. CLOSE SHOT Bruno hurries on. He stop short as he sees. SEMI - LONG SHOT FROM HIS VIEWPOINT Another uniformed man. MED. SHOT Bruno starts to run. MED. SHOT Guy starts to run after him. MED. SHOT Bruno is seen to jump on a merry - go - round, which is just starting. Its pace is already pretty fast. MED. SHOT Guy runs toward Bruno. CLOSE SHOT DETECTIVE Haines! Hold it! Hold it! The detective pulls out his gun and starts to run after Guy. SEMI - LONG SHOT Guy jumps on the merry - go - round after Bruno. Its speed is so great that he nearly gets flung off. CLOSE SHOT The detective fires at Guy. CLOSE SHOT The man running the machine in the center of the merry - go - round is suddenly hit in the shoulder. CLOSE SHOT His hand, which is on the starting lever, jerks it down. MED. SHOT The detective, after Guy, jumps on the machine but is flung off on his back. FULL SHOT The merry - go - round has now started to increase the speed. CLOSE SHOT Bruno at the far side is trying to jump off, but it's going too fast. LONG SHOT FROM HIS VIEWPOINT We see the hard ground whizzing past him. Everything seems to be a blur. We get a glimpse of screaming women and the crowds rushing up from the midway. CLOSE SHOT BRUNO He turns and glances over his shoulder. MED. SHOT FROM HIS VIEWPOINT Guy is threading his way between the rising and falling horses. Guy gets right up close to him. TWO SHOT As Guy comes near to Bruno, the latter turns on him and starts to attack him. BRUNO I want to get off of here! Let me off of here! It makes me dizzy. GUY Stop it, Bruno. Give me my lighter, Bruno! MED.SHOT Against the whirling background of the merry - go - round, Turley and Campbell rush up as the detective struggles to his feet, slightly hurt. The noise from the calliope is very loud. CAMPBELL -LRB- to Turley, puzzled ; indicating the merry - go - round. -RRB- Who's the man he's fighting with on there? At this moment the boatman rushes up. BOATMAN -LRB- excited. -RRB- There he is! That's the one! That's the one who killed her! TURLEY Of course he is. We know that. CLOSE SHOT ON MERRY - GO - ROUND Guy and Bruno in a struggle. Guy has to protect himself from a madman whose hands attempt to reach his throat. They are staggering across between the rising and falling horses. MED. SHOT OUTSIDE MERRY - GO - ROUND A detective turns to the group around hIm. DETECTIVE Get somebody to come and stop that thing! An elderly man in soiled work clothes speaks up. WORKMAN I'll handle it. Immediately the workman heads straight for the merry - go - round and starts to crawl under it on his stomach. DETECTIVE -LRB- calls after him. -RRB- Hey! Be careful! Stop! A second detective speaks to him quizzically. 2ND DETECTIVE Well, do you want to do it yourself? The first detective leans over and looks off toward the workman who is continuing his slithering way under the machine, then straightens up. 1ST DETECTIVE -LRB- changing his mind. -RRB- No. I think he'll make it all right. MED. SHOT GUY AND BRUNO Bruno swings around till his back is to us. He pushes Guy toward the edge, but Guy manages to grab the rein of the nearest horse. The momentum of the machine swings Guy around against the horse, whose big head towers in the f.g. Bruno, on this side of the horse pushes forward and tries to grab the reins from Guy's hand. He tries to slash at Guy's face. The back of Bruno's head is toward us during this. Guy suddenly leans out across the horse and smashes his fist against Bruno's face. Bruno's head goes back until it is in the f.g. in a upside - down position. MED. SHOT THE CAMERA IS LOW so that we get the effect of Bruno falling into the CAMERA from Guy's blow! MED. SHOT In the f.g. is a young boy of four years. He is excited by the speed of the ride and laughs at the fight with great enjoyment. He sees this by suddenly glancing over his shoulder. In the b.g. Guy and Bruno are continuing their fight. Bruno rises. Guy staggers after him. Bruno again leaps upon Guy. The two men sway toward the CAMERA until Bruno gets alongside the little boy. The boy now shows some anxiety. The three figures now fill the screen with the horses' heads in the f.g. Bruno is forced against the little boy, who now, alarmed, beats Bruno on the cheek with one hand, the other holding onto the brass rail in front. Bruno stops and with a sweep of his arm, knocks the little boy off the horse onto the floor below. The little boy, in falling, grabs the horse's rein or stirrup. CLOSE SHOT Guy breaks away from Bruno and dives around the back of the horse to grab the little boy. CLOSE SHOT As Guy grabs the boy, he staggers forward with him to a small gondola. Bruno leaps onto his back but Guy manages to put the boy in the gondola. CLOSE SHOT UNDERNEATH THE WHIRLING MERRY - GO - ROUND The boat man is making slow progress. FROM HIS VIEW POINT We see his goal. It is the wounded mechanic in the center, who is slightly stirring. All during this the base of the merry - go - round is skimming above the back and head of the boat man. BACK ON MERRY - GO - ROUND The two men are now in a clinch. Guy tries to fight off the maddened Bruno. They are flung between the horses, bouncing one against the other, almost half way around the merry - go - round. CLOSE SHOT BRUNO AND GUY Again they struggles between two horses. On each side of them are two young screaming girls. The two bounce from one horse to the other. CLOSE SHOT The calliope has little figures and these boat away on their cymbals almost as though they are applauding what's going on. CLOSE SHOT Underneath the merry - go - round, the boat man has made further progress. He is creeping inch by inch. His nose starts to run. He starts to fumble for a dirty piece of handkerchief. He blows his nose and then moves on. CLOSE SHOT Back above the two men swinging past the two girls on their horse and they both crash to the floor underneath another horse, upon which is riding side - saddle, a mother and her three - year - old little girl. CLOSEUP The two big heads of the men, battling. The two men roll underneath the horse's hoofs, which are seen rising and falling. They get right underneath one horse. CLOSEUP Guy has turned over on his back and his eyes look up. CLOSEUP FROM HIS VIEWPOINT We see the big horse's head above and its hoofs coming down toward the CAMERA and filling the screen. We get a faint impression of the screaming mother hugging her child to her breast, above. BIG CLOSEUP THE HORSE'S HOOFS striking Guy's head. CLOSE SHOT Guy wrenches himself out of this position. He rolls away from the CAMERA right to the edge of the merry - go - round. He manages to grab a rail. MED. SHOT Guy's body is flung out horizontally. We see the crowd behind back - up for fear of being knocked over. The screw of tension increase. Over this comes the sound of an approaching ambulance siren. CLOSE SHOT Bruno edges himself toward Guy. He is hanging on to the reins of a horse. His feet manage to roach Guy's knuckles. CLOSEUP BRUNO'S VICIOUS EXPRESSION CLOSEUP BRUNO'S FEET kicking at Guy's knuckles. CLOSEUP GUY'S AGONIZED EXPRESSION MED. SHOT A flash of the horror - stricken faces of the spectators seen through the whirling machine. CLOSEUP Machinery and the lever that was pulled on too fast. The Boatman's hand comes up into the picture and pulls the lever over. LONG SHOT The sudden braking causes the whole merry - go - round to topple over with a grinding roar. LONG SHOT FROM HIGH ANGLE The merry - go - round his keeled over. For a moment we do n't know who has survived. There is a surge of people milling and shouting. Those who have jumped back out of the way when the merry - go - round toppled, now rush forward again as the cloud of dust settles. From the midway in the background others are running forward. MED. LONG SHOT Distraught parents try to force their way to their children who were on the merry - go - round, but are hold back from the wreckage by police. MED. CLOSE SHOT Guy is somewhat stunned from his fall. He is helped to his feet by some men in the crowd. His knuckles are bleeding. In the background people are rushing about. The crowd is in uproar as women and children are helped from the wreckage. Officials and uniformed policemen pushing back the surge of the crowd. AD LIBS Get back. Get back there. Give us room here. Turley and Campbell rush in to Guy. TURLEY Are you all right, Haines? GUY Yes, I think so. Guy is surrounded by police and Campbell stands at his elbow. At this moment the boatman runs in. One of the detectives is with him. DETECTIVE Mr. Turley! Mr. Turley! -LRB- indicating boatman. -RRB- He says this is n't the man we want. -LRB- with a nod in Guy's direction. -RRB- It's the other one - the one he was fighting with. TURLEY -LRB- stops to give his full attention to this unexpected bit of information. -RRB- What do you mean, this is n't the -. -LRB- turns to Guy, not quite taking it in. -RRB- Not Haines? -LRB- back to boatman. -RRB- But you said he was. You pointed him out. BOATMAN No, I did n't, sir. I've never seen this man before in my life. I meant the other one. The detective who was holding Guy instinctively relax his hold on Guy's arm. Turley turns to Guy, puzzled. TURLEY What is this all about, Haines? Did you know he killed your wife? GUY -LRB- nods. -RRB- He has my cigarette lighter and wanted to plant it there on the island to pin the whole thing on me. -LRB- urgently. -RRB- Let me talk to him. Let me show you. Where is he? ANOTHER DETECTIVE Over here. He leads the way. They follow. MED. CLOSE SHOT as Guy and Turley enter to the spot where Bruno is pinned under the overturned machine. He is caught between two of the horses, the head of one of them across his chest. Bruno's head sags back somewhat, but is resting on pieces of debris. A uniformed policeman looks up from Bruno to Turley : POLICEMAN This one's in a pretty bad way, Mr. Turley. Guy is shocked at the sight of Bruno. GUY -LRB- looking down at Bruno. -RRB- Ca n't you get that stuff off him? POLICEMAN No, they've done everything they can until the crane comes. Bruno opens his eyes and sees Guy. BRUNO Hello, Guy. Turley has leaned forward to look at the helpless Bruno. BRUNO -LRB- weakly nodding at Turley. -RRB- Who's that? GUY This is Mr. Turley, Chief of Police. BRUNO -LRB- with a half smile. -RRB- So they got you at last, eh, Guy? Guy looks around desperately, frustrated for a moment as Turley eyes him stonily. Then he turns again to Bruno. GUY -LRB- rather gently. -RRB- Can you talk a little? Can you tell the chief you have my lighter? BRUNO -LRB- with a faint, quizzical smile. -RRB- I have n't got it. It's still on the island where you left it. Guy looks around helplessly to Turley, who looks back at him suspiciously. DETECTIVE -LRB- looking down at Bruno. -RRB- I think he's going. Turley leans over to look. CLOSE SHOT BRUNO'S FIST FROM TURLEY'S VIEWPOINT As Bruno is dying, his closed fist slowly starts to open. DETECTIVE'S VOICE He's finished. Guy's lighter is now revealed in Bruno's open hand. MED. SHOT GROUP Turley takes the lighter from the dead Bruno's hand. Guy is watching him. Turley straightens up and holds the lighter out to him. TURLEY Is this your lighter, Haines? Guy nods without speaking, and with a half look in Bruno's direction. TURLEY Well, you were right. -LRB- sticks the lighter into his own pocket. -RRB- I'd better keep this for the time being. -LRB- in a friendly tone. -RRB- We can clear the whole thing out the morning. How about staying in town over night, Haines? I imagine you have a lot to tell me. Nine o'clock, all right? GUY -LRB- nods. -RRB- Okay, Mr. Turley. Thanks. Turley turns back to the group around Bruno. Guy looks down for a moment at Bruno, then speaks to the boatman, who is standing nearby. GUY Can you tell me where there's a telephone? BOATMAN -LRB- indicating. -RRB- There's one up near the entrance. -LRB- with a look back to the dead Bruno. -RRB- Who was he, Bud? Guy looks back sympathetically in Bruno's direction, speaks without looking at the boatman. GUY Bruno. Bruno Antony. -LRB- reminiscently and a little compassionately, remembering what Bruno had said of himself. -RRB- A very clever fellow. He moves off through the crowd.", "INT. BURTON STUDY NIGHT Anne, Barbara and the Senator are sitting silently in the attitudes of waiting. The telephone rings. Anne is instantly on her feet. Barbara and the Senator watch her anxiously as she goes to answer it. ANNE -LRB- into phone. -RRB- Hello. -LRB- impatiently. -RRB- Yes, operator, yes! -LRB- waits a moment, then eagerly :. -RRB- Guy? -LRB- a pause, then she closes her eyes with heartfelt relief. Another pause, then :. -RRB- Yes, darling, yes. Of course I'll be there. Goodbye. She hangs up, turns slowly, to face Barbara and her father. Her expression is one of intense relief. ANNE Guy'll be back tomorrow. -LRB- overcome with emotion she has difficulty in speaking. -RRB- He wants me to take him some things. With a sob, Barbara flings herself into Anne's arms. As she cries, Anne strokes her head comfortingly. Then with a half - choked sobs Anne, too, begins to cry. She speaks through her tears, looking over Barbara's shoulder at her father. ANNE He says he looks silly in his tennis clothes. The Senator eyes them a moment, then speaks a little wryly : SENATOR I presume from all those tears that you have had good news.", "INT. PARLOR OF TRAIN NEXT DAY Anne and Guy are sitting quietly together. Opposite them is a man in a clerical collar who is reading a sports magazine. On the cover is a picture of a tennis player in action. The man looks over the top of his magazine at Guy, with recognition. He leans forward. CLERIC I beg your pardon, but are n't you Guy Haines? GUY -LRB- uncomfortably. -RRB- Yes. Guy and Anne exchange a brief look, rise hurriedly and start to walk away before the conversation can go any farther. The cleric looks after them with a frown and a puzzled shrug of his shoulders, as if to say, `` Did I say something wrong?'' FADE OUT. THE END" ]

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[ "Mission: Impossible II A WORN SATCHEL -LRB- MOVING - DAY -RRB- is being carried by a world weary middle European wearing a black armband. VLADIMIR NEKHORVICH exits a gleaming building, pausing for a moment, under a motto clearly visible above his head, ` Where the future is now'. He checks the time. INSERT - WATCH set in Countdown Mode. It's at 19 hours forty - seven minutes and sixteen seconds and dropping, 19:37.15, :14, :13, :12 etc.. O.S. children are singing : Ring a ring a rosy/a pocketful of posy / a tissue a tissue/we all fall down. Nekhorvich looks to see children at play outside the adjacent Natural History Museum. They are moving in and around an odd freeform sculpture. POV - SCULPTURE AND CHILDREN a blur where the sculpture seems to be distorting the children, almost like mirrors in a fun house. NEKHORVICH wipes his eyes, a horn honks. He looks toward the sound.", "INT. AIRPORT SECURITY - DAY MOVING SHOT - SATCHEL on the belt that takes it thru X - Ray. On the other side a guard opens the satchel and pokes thru a few toilet articles, personal items, books, a battleship gray digital camera and - in a small plastic container marked'S. G.' - a small, square shiny object, hi - tech and at odds with the other items. She pulls out an urn - shaped vessel. GUARD What's this, then? NEKHORVICH -LRB- handing her documents. -RRB- The ashes of a colleague, I'm taking them to his family. If you wish to open it, please be careful.", "INT. PLANE - MOVING - DAY COMPUTERIZED SCREEN DISPLAY on the cabin wall displays a colorful map showing the flight point of departure in Sydney, continuously updating distance, direction and time to its ultimate destination, Atlanta, Georgia. CAPTAIN'S VOICE - folks, we're a little over two and a half hours from touchdown in Atlanta, but if you look out your windows on either side of the aircraft, we'll soon be crossing the southern section of the Rocky Mountains, a range which includes more than 50 peaks rising above 14,000 feet. The chain's loftiest point, Mount Elbert, at 14, 433 feet should be coming into view as we pass over central Colorado shortly.", "INT. CABIN - DAY NEKHORVICH seems intent on the map, its changing times and distance. He checks his watch - the countdown has gone from 20 to three hours and 32 minutes as Nekhorvich is mesmerized by the descending seconds whipping by. ETHAN HUNT sits into shot on the vacant first class aisle seat beside Nekhorvich. ETHAN You keep staring at that watch as if your life depended on it, Doctor. NEKHORVICH Well, yes. I suppose I am a bit anxious. ETHAN They're ready and waiting. You'll soon be with old friends. NEKHORVICH -LRB- meaning Ethan. -RRB- I'm with an old friend now, Dmitri. ETHAN Sorry it could n't be under happier circumstances. NEKHORVICH Yes, I'm sorry too. ` You're sorry and I'm sorry.'. -LRB- bemused laughter, then looks at Ethan. -RRB- - you do know Gradski thought the world of you. Nekhorvich is overcome. Ethan puts a comforting hand on his shoulder : ETHAN He was quite a man. Did he know before the end you two had succeeded? NEKHORVICH Yes, he knew. Just. ETHAN not in time to save him. NEKHORVICH No. After you've lived with Chimera for twenty hours, nothing can save you. Not even. Bellerophon. Nekhorvich pats the satchel. ETHAN You carry them together? Safely? With an almost impish grin and a wink : NEKHORVICH Yes, and you'll get us to a safe place with them, thank god! left to my own devices, I'm an old fart too inept to read a railroad timetable! Good - natured laughter. Cut off by a flight steward who passes by, giving a sidelong silence in Ethan and Nekhorvich's direction. Oxygen masks suddenly deploy from the ceiling. Passengers are puzzled and alarmed. CAPTAIN'S VOICE You Captain again. We've experienced a slight but abrupt drop in cabin pressure. A passenger struggling with his mask. As Nekhorvich fumbles with the strap on his mask he notes that the display screen shows their altitude is below 30,000 feet and dropping. He checks the countdown time on his watch again. Nekhorvich looks around him. The flight attendants are conspicuously absent and all the passengers who have on oxygen masks are passed out.", "INT. - COCKPIT The flight crew now wearing their oxygen masks. CAPTAIN -LRB- into radio. -RRB- Pan, pan, pan, Denver Center. This is Trans Pac Flight two - two - zero - seven, 747 heavy. We are not reading you. We're unable to maintain cabin pressurization. We have initiated a descent to one six thousand. The Co - pilot is working on the plane's altitude when his hands slip off the controls. His eyes flutter, then : CO-PILOT Captain, I do n't. ca n't. He passes out. The Captain, HUGH STAMP, turns to verify that the relief pilot is also unconscious at the controls. He then removes his oxygen mask, sets the auto pilot, inputting numbers to slow the plane and descend. As the craft titles downward.", "INT. - GALLERY The flight attendants are pulling on jump suits. Stamp emerges from the cockpit.", "INT. - CABIN Ethan returns. Nekhorvich beckons to him. Ethan sits. Grinning around, Nekhorvich conspiratorially : NEKHORVICH it seems we have a problem, Dmitri. ETHAN -LRB- in the same tone. -RRB- You keep calling me Dmitri. You really should n't. Nekhorvich's eyes narrow. NEKHORVICH You're not Dmitri? With a lightning swift move Ethan breaks Nekhorvich's neck. ETHAN - no. He grabs the satchel. ETHAN -LRB- cont'd. -RRB- -LRB- to Wallis. -RRB- Wallis, hold onto it. Wallis slashes the satchel handle open, takes the satchel for Ambrose. He peels off the latex mask, revealing SEAN AMBROSE. ETHAN -LRB- cont'd. -RRB- Ulrich, pull the - He tears off the vocal oscillator at his adam's apple, clears his throat, now as Ambrose : AMBROSE - pull the NO2 tank and dump it, it's potential evidence. STAMP -LRB- the ` captain' into shot. -RRB- All done, chief. AMBROSE -LRB- what else. -RRB- - right -. -LRB- kidding. -RRB- - do n't go too far ahead of me now - STAMP Not possible. Ulrich has rolled back the carpet over an access panel just beneath them that leads to the belly of the plane. Stamp pulls back the panel, hops into the compartment below which is four walls of electronic equipment. Stamp kneels and slides back the floor hatch. The wind howls, puffs of cloud zip by beneath them. As they descend into the belly : WALLIS Checkpoint Charlie plus 30, altitude minus two - zero - thousand. Airspeed one - seven - niner knots. AMBROSE It's that time. Go. They don goggles and, with Ambrose in the lead, the team leaps, one after another from the hatch, sailing off into the sky.", "INT. - COCKPIT (DAY) An automated voice repeats in an ominous monotone : VOICE Terrain, terrain. Pull up, pull up. The co - pilot stirs. He blearily rouses himself just in time to see : A mountain rushing toward him. As mountain meets airplane, the frame is filled with fire, but when camera pulls back from the fireball, it is in fact no more than a match head filling frame, which ignited, lights a fuse. The MI theme music kicks in, the main credits roll to :", "EXT. - FACE OF MOUNTAIN (DAY) For a moment it might be thought part of the same range when the plane crashed but when Ethan Hunt climbs into frame the angle widen and titles down, revealing more of where he's come from than where he's going. Aside from the fact that he's in the midst of free - climbing what is easily a sheer rock face of at least a thousand feet, there's the sunny picture - postcard view of a lovely valley and pellucid lake thousands of feet below. Ethan climbs out of shot. WIDE UP ANGLE -LRB- DAY -RRB- revealing the summit, a light breeze hitting the lichen and whatever growth has a slender purchase on the rocky mountainside, fluffy clouds overhead. Ethan into shot. Despite the spectacularly precarious handholds he's using to hang onto the mountain and his life, he appears relaxed, engaged - for him - in the equivalent of busman's holiday. It's leisurely danger for Ethan ; one might almost expect to hear Julie Andrews trilling ` Climb Every Mountain' on the soundtrack. Then a rock he's been grasping crumbles and Ethan drops about six inches before he grabs onto the mountain again. As he hangs by five fingers thousands of feet above the earth he does n't seem terribly concerned until he spots a helicopter. It's materialized behind the summit and passes surprisingly close just overhead, casting its shadow downward over Ethan. Instinctively, Ethan flattens himself against the rock surface, as if the copter poses some sort of threat to him. But when its rotors whir it into the distance Ethan relaxes and resumes his climb.", "EXT. MOUNTAIN - DAY A HAIRY OVERHANG near the summit Ethan departing from the vertical and is now traversing the mountain with more of his back than his feet exposed to the earth far below. He's clinging to the mountain almost like a fly walking on the ceiling. When he reaches for a handhold that will restore him to the vertical, he dislodges a lizard - and manages to catch it before it plunges thousand of feet to oblivion. ETHAN Whoaa. He pockets the lizard, climbs the overhang. REVERSE ANGLE - SUMMIT with Ethan's hand, then Ethan coming into view and making the summit. He reaches into his pocket and releases the lizard who favors Ethan with a stern reptilian stare by way of gratitude. To lizard : ETHAN You're welcome. The lizard scampers off, then a low beeping sound at his back attracts his attention. He turns to see the source of the beeping, a small package in day - glo colors with a day - glo streamer. Ethan looks to the sky where the helicopter is now ominously circling back. Ethan lifts the day - glo package and waves it in the direction of the copter. With a distinct lack of enthusiasm. The helicopter once again turns, banks and disappears. Ethan has opened the beeping package and finds a pair of sunglasses. ETHAN'S POV SUNGLASSES First, a retinal scan. ELECTRONIC VOICE Identity confirmed. SWANBECK Good morning, Mr. Hunt. Swanbeck's face flashes onscreen. Over his introduction of Nyah is a series of satellite photographs whose subject is so elusive she never seems to give the camera a clean shot. SWANBECK'S VOICE Your mission, should you choose to accept it, requires you to recover a stolen item, designated Chimera. Essential to the mission is the recruitment of a civilian - a Miss Nyah Nordoff - Hall. She is a highly capable professional thief currently active in Spain. A series of Nyah's ` accomplishments', i.e., warrants, complaints, Interpol summaries of her various criminal activities, as well as glimpses of the elusive Nyah circulating about Seville. SWANBECK'S VOICE -LRB- cont'd. -RRB- Her dossier's available on I - COM 3. You have 48 hours to recruit Ms. Nordoff - Hall and meet me in Seville to receive further details. Should you or any member of your IM force be caught or killed, the Secretary will disavow all knowledge of your actions. Swanbeck's face reappears on screen : SWANBECK'S VOICE -LRB- cont'd. -RRB- And Mr. Hunt - the next time you go on vacation, please be good enough to let us know where you're going. This message will self - destruct in five seconds. Ethan removes the glasses, then tosses them into space. ETHAN If I let you know where I'm going - The glasses explode in a puff of smoke. ETHAN -LRB- cont'd. -RRB- - wo n't be on holiday. Ethan, with a fair amount of disgust, gets to his feet and jumps off the mountain, in, what for a moment looks like a suicidal snit. Then, somewhere hundreds of feet below camera, there's a little puff of color as the tulip - shaped chute pops out of his back - pack. Begin the sound of a castanets and the animal - like cries of flamenco dancers.", "EXT. - ANDALUSIAN VILLA (EVE) Bustling in the activity of a large private party, with arriving guests and attentive valets, as a young woman, her face unseen, exits her car and enters the villa.", "INT./EXT. VILLA - FLAMENCO DANCERS - EVE A FLASH OF SKIRT AND LACE where to the cries of dancers add graceful feminine hands wielding the castanets. The dancers perform on a raised platform and NYAH NORDOFF - HALL'S face can be glimpsed thru the swirling skirts and pounding heels, looking thru, not at them. REVERSE ANGLE - ETHAN looking back in a similar way to Nyah ; surreal lighting and the relentless chorus of pounding heels seem to isolate them in the crowed party. Nyah continues to look at Ethan over the shoulder over her wan na - be escort, a very attentive gentleman. Nyah offers up her empty glass, and the gentleman eagerly takes it to the bar for a refill, leaving Nyah and Ethan looking at one another. Ethan approaches her. ETHAN Do you know me? NYAH No. Should I? ETHAN No. You just looked as if you did. NYAH No. Just as if I'd like to. ETHAN Oh. Well. I think that can be arranged. NYAH Not tonight. Bad timing. Sorry - ETHAN There's not enough time in the world for any of it to be bad. This stops her. Nyah moves closer to him, until they're nose to nose. Whispered but breezy : NYAH Look, it's either you or the rent and I do n't mind telling you it's not an easy choice. ETHAN What if I pay the rent? NYAH Uh - huh. ETHAN Uh - huh? Glancing at the gentleman making his way back with her drink then : NYAH Go find the wealthy lady you came with and next time we meet - I'll pay your rent. -LRB- kissing him, sweetly. -RRB- Now bugger off. And purposeful creature that she is, she takes her frustrated desire upstairs, timing her footsteps so as to use the sound of the dancer's steps to cover her own. Once upstairs, a security guard near the master bedroom can be seen eagerly following her down the hall, both moving past a pair of windows, visible to Ethan. In a few moments, Nyah can be seen past the windows in the opposite direction, without the guard following. In another moment or two, a very puzzled looking security guard can be glimpsed in the first window, looking up and down the hall, clearly having lost sight of Nyah. Ethan smiles, moves out of shot.", "INT. - MASTER BEDROOM (EVE) Nyah has opened the door and moves swiftly thru the bedroom.", "INT. - BATH (EVE) A decadent looking affair with suggestive lighting, mirrored walls. The tub has a tray across it which includes a wine cooler chilling a bottle of Crystal and a mound of caviar on a bed of ice. Nyah ca n't resist. She spoons a dollop of the caviar and downs it before she moves along the frescoed walls of the tub to its back. There, she pulls out her compact and removes the puff, revealing an electronic density meter. She turns it on and holds it at the rear of the tub. Its sweep gauge jumps sharply from green thru yellow and into red. NYAH -LRB- her fondest hopes confirmed. -RRB- Mmmm. She now steps into the tub and focuses on the grout between the tiles just above the sop dish. Her knee eyes search for any cracks in the grout and she spots one. Using a tweezers she pulls the silver of the grout out from between the tiles, revealing something that looks like a credit card wedged between the tiles. She slips the card into a narrow opening under the sop dish. There's the sound of hydraulics and two arms move the marble casing out from the rear of the tub. Nyah breathes a sigh of relief and anticipation : kneeling in the tub she finds herself looking down at an open safe, revealing some half - dozen locked compartments. As she studies them : ETHAN Decisions, decisions. Nyah looks up to see Ethan's reflection in the bathroom mirrors, looking down at her kneeling in the tub. NYAH What are you doing here? ETHAN Think you're the only one who can pick a lock? NYAH -LRB- not altogether pleased. -RRB- I see. You're not just another pretty face. Before Ethan can answer, a voice can be heard coming from the bedroom warbling Granada in Spanish, and with considerable gusto. NYAH -LRB- cont'd. -RRB- Oh god. A bloody baritone. Nyah catches a reflection behind Ethan's in the bathroom mirror. She reaches up and grabs Ethan by the lapel, yanking him into the tub, pulling him down on top of her. Once again they're nose to nose. ETHAN I take it you prefer tenors. She glances up at the mirror. In it is the reflection of SENOR AUGUSTO DE L'ARENA, a big amiable Castilian in his fifties who's changing a white dinner jacket that's had wine split on it. He breaks into a heavily accented version of ` Now or Never', and disappears from the dressing room mirror. NYAH Would you mind if I'm on top? ETHAN Oh, either way works for me. With a jaundiced look she rolls over on top of Ethan and begins working on one of the safe compartments, using a tiny torque wrench from a tube of lipstick and a carbide pick from a mascara brush. She glances down and is rather disconcerted. Continues working with the pick and wrench. ETHAN'S VOICE You're never gon na find it there. NYAH -LRB- she jumps, dropping the torque wrench. -RRB- Damn it! Find what? ETHAN His ex - wife's Bulgari necklace that goes up for auction Tuesday. Looking down to Ethan, a touch of indignation : LOOKING UP more or less, hands locked behind his neck as he rests against the raked back of the tub, his eyes and nose inches from Nyah's lower pelvic region as she straddles him. Not exactly in the mood to move : She stiffens - he knows too damn much. NYAH - right. where is it? ETHAN Far right. She immediately switches her efforts from top left to the bottom right compartment. She's utterly nonplussed : NYAH Where's the bloody - ETHAN -LRB- plucking it off his chest, offering it up like a mechanic under the chassis. -RRB- - torque wrench. NYAH - this is very disconerting. ETHAN Hey, you put me here. I just do what I'm told. NYAH - right. She unstraddles him and, with a few deft moves with the torque wrench and carbide pick - and it's open. She withdraws a velvet pouch and opens the pouch. Out spills the spectacular necklace. NYAH -LRB- cont'd. -RRB- Lovely. -LRB- starting to close the safe. -RRB- Who are you and what's it going to cost me? ETHAN -LRB- having sat up. -RRB- I would n't do that. NYAH Do what? The alarm goes off. ETHAN That. The bathroom is suddenly filled with security guards, gun drawn Senor de l'Arena, looking highly upset, pops in. SENOR DE L'ARENA Oh, Senor Keyes, thank God it is you! -LRB- in Spanish to security guards, annoyed. -RRB- It's Senor Keyes, the security engineer. ETHAN Well, Senor de l'Arena the goods news is that the heat sensors were activated. But Miss Nordoff - Hall, my associate - Senor de l'Arena kisses Nyah's hand. SENOR DE L'ARENA Mucho gusto, senorita. ETHAN - did feel that she had rather too long to work on the safe before they triggered the alarm, is n't that right Miss Hall? NYAH Oh yes. Absolutely. Much too long I should yes. Nyah's initial shock and panic slowly gives way to a wary, intensified curiosity - about Ethan. ETHAN Under the circumstances I think we would recommend re - setting the senors to respond to a lighter load. How do you feel about forty kilos, Miss Hall? NYAH Indeed. ETHAN Well, Senor de l'Arena, there's no reason to disrupt your party any longer. we have some further concerns about the disposition of your security guards, which you'll receive in our written report by fax in the morning, hard copy to follow. Shall we? He offers Nyah his arm. They start out. Ethan immediately stops. ETHAN -LRB- cont'd. -RRB- Miss Hall. Have n't you forgotten something? Nyah looking genuinely puzzled. NYAH The necklace? Nyah slowly reaches into her dress and withdraws the glittering string of diamonds and rubies from her bust. SENOR DE L'ARENA -LRB- a great kidder. -RRB- What are you trying to do, senorita? Rob me. They all laugh, and Ethan's got her out the door.", "EXT. - ANDALUSIAN VILLA (LATE NIGHT - PRE DAWN) The stars dimming, the sky a gun metal blue. Ethan and Nyah emerge from the villa, walking slowly. Nyah's clearly preoccupied. NYAH I'm missing something here, aside from a 500,000 pound necklace. Even after I botched the job, I could've walked out of there with the bloody thing. ETHAN At least you walked. NYAH If you were n't going to let me get away with it, why did you let me go thru with it? ETHAN Wanted to see how good you were. I'm hoping we might work together. NYAH May I say something, no offence? You look like a gigolo, you sound like a thief, you act like a cop - what the bloody hell do you have in mind? ETHAN Working under adverse conditions. Highly adverse conditions. NYAH Sounds smashing. I'm in. Muchacho, mi carro, por favor! Now be serious. You could n't possibly want me off tonight's performance. ETHAN You did n't do that badly. Her car arrives. NYAH -LRB- as she moves to her car. -RRB- You're apologizing for me? Quite the gentleman. ETHAN -LRB- opening the car door. -RRB- Not really. I triggered the alarm. One foot on the floorboard she freezes, back to Ethan. ETHAN Hey, the Bulgari job last week was flawless. And I've always been partial to pale yellows. She slides behind the wheel. NYAH -LRB- as he leads on the car. -RRB- I do n't do laundry, or put up with cheeky bastards who set me up on their territory so they can poach on mine. She takes off, spewing bits of gravel and dust in her wake. Ethan smiles and shakes his head. ON THE ROAD - NYAH -LRB- MOVING -RRB- around curves, hair flying, she's free. Her car phone rings. Perplexed, she lets it ring once or twice picks it up : NYAH -LRB- tentatively. -RRB- Hola. ETHAN Hi. Would you mind slowing down? NYAH Where did you get this number? I do n't even have it! ETHAN' VOICE Would you like it? She hits the End button and disconnects. The phone immediately rings again. She refuses to pick up. Ethan pulls alongside hers. She looks at him. They speak through the open cars. ETHAN Pull over and listen to me, will you? Just listen. NYAH Listen to what? ETHAN I need your help and I thin you can use mine. NYAH Your help? What are you talking about? ETHAN Scotland Yard, Interpol, every Dutch authority. I can make them go away. NYAH Oh bloody hell. You're a spy. She floors it and shoots ahead of Ethan, nicking his car as she takes off. ETHAN -LRB- to himself. -RRB- I deserved that. SERIES OF DRIVING SHOTS - NYAH AND ETHAN Ethan rings her again. And keeps ringing. Her face becomes grim, her flight progressively more desperate and with Ethan's pursuit progressively more determined. They are reaching the limits of adhesion around blind curves. MORE SHOTS DRIVING -LRB- DAWN -RRB- The sky's battleship gray ; Ethan pursues Nyah around hairpin turns high above the Costa del Sol ; they rip thru patches of marine fog drifting on the road, obscuring it. Both are appalled by the other's willingness to escalate risk in this game of flight and pursuit until Ethan tears thru a fogbank and sees on his GPS what Nyah ca n't see thru the fog - less than four hundred meters ahead is a turn she ca n't possibly negotiate and if she ca n't she'll plunge off the road hundreds of feet to rock and sea below. Ringing her number again : ETHAN -LRB- half to himself. -RRB- Slow down, slow down. She turns up a mound and loses control. She spins out and heads toward the edge of the cliff. NYAH -LRB- realizing she's in trouble. -RRB- Uh - oh. Ethan cuts her off and sends them both into a 540 degree spin. Her car stops just at the cliff's edge. Furious she wrenches open the car door and gets out. ETHAN No! Suddenly there's no Nyah. Ethan leaps over to Nyah's car and sees Nyah dangling over the ocean and rocks hundreds of feet below, holding the door handle. NYAH Oh. oh. Taking a firm grip on her wrist. ETHAN Do n't look down. Just. look at me. That's it. that's it. He pulls Nyah up to the car, across the seat and half into his arms. For a long moment it looks like she's in shock. Then : NYAH What's you name? ETHAN Ethan Hunt. NYAH Well, Ethan Hunt, what is it you want to talk to me about? Thru the veil of morning fog, Nyah looks at Ethan. Her dark eyes suggest wit, and willingness, and longing. ETHAN more than I thought. They scarcely to move to bring their lips together : NYAH Awfully short notice. ETHAN Care to wait a decent interval? NYAH Who wants to be decent?", "INT./EXT. SAFEHOUSE - SEVILLE - DAY-EVE CLOSE - ETHAN sleeping. His eyes open slowly. He comes to full consciousness, his head still on the pillow. Something approaching serious anxiety informs his features. He lifts his head and looks at his left, angle widening. Nyah lies on her side facing him, sleeping serenely. Anxiety on the order of oh - God - this - is n't - approved - recruiting - technique, confirmed. He lets his head flop back on the pillow. Then he turns so he and Nyah are profile to - profile. As he looks at her sleeping his anxiety fades, replaced by curiosity and even wonder. He lifts his hand and just brushes her cheek. Her eyes open. She knows where she is. ETHAN So what've you got against spooks? Nyah smiles. NYAH When they've got your recruiting technique? Not a thing. ETHAN Oh. Well. this is n't exactly by the book. NYAH They've got a book for this? ETHAN They've got a book for everything. NYAH The only other spook I knew was a liar. Charming but absolutely incapable of telling the truth. He'd lie about his favorite color. But then I reckon it's an occupational hazard. All spies really do is conceal the truth and tell lies. ETHAN Not revealing information does n't necessarily make someone a liar. NYAH That's not the point. In the end what spies rely on is the one thing they think they know that you do n't. ETHAN Which is? NYAH That they're lying. Ethan laughs. NYAH -LRB- cont'd. -RRB-. once they know that they can get very very. crosee. Nyah shoulder and moves into Ethan. ETHAN So where did I got right? NYAH You're not a liar. Or you're an awfully good one. -LRB- then. -RRB-. this thing these blokes pinched. ETHAN I do n't know that they ` pinched' it. Do n't even know that they're blokes. Nyah stops to think about this. NYAH Well, then, what I am I doing here? I assume I'm meant to be some sort of thief - to catch - a - thief. ETHAN So do I. Sort of. Nyah looks at Ethan, a little worried. NYAH Spoken like a spook. you ever afraid? ETHAN Of what? Nyah laughs. NYAH Ask a question, you get an answer! ETHAN Damn, you're beautiful. NYAH That's because I'm on my back. Quick as a cat Ethan flips Nyah over so she's looking down at him. ETHAN I do n't think so. She sinks into his arms.", "EXT./INT. - STREET - SEVILLE (VALENCIA FESTIVAL) (EVE) Ethan's step is unusually jaunty as he bounces along, making his way thru the festive and jostling crowds preparing for the Crema portion of the Fallas de Valencia. On this night great papier mache effigies, some serious, some comic, are placed all thru the city and torched in great bonfires. Outside the bar Ethan's looking for there's a street vendor, hawking Fallas mementos and flowers. He starts past the vendor, and it hits him - he's going to buy some flowers. He chooses a colorful spring bouquet so fresh the dew can be seen on the petals. Ethan pays the vendor, starts into the bar, and thinks better of walking into Swanbeck with the bouquet. Turns back to the vendor. ETHAN Are you gon na be here a while? VENDOR Si, senor. ETHAN I'll pick'em up on my way out, okay? Ethan enter the bar and goes upstairs to the second floor where he passes security at a pair of double doors.", "INT. - IMF BRIEFING ROOM Swanbeck stands looking out the window. Noisy crowds from the festival provides a constant walla, and during the sequence, the first effigies are lit, and smoke and flame provide a vivid background thru briefing room's window. SWANBECK Fetival's a pain in the ass. Honoring saint by setting'em on fire. -LRB- turning to Ethan. -RRB- Sit down, sit down. Ethan sits. SWANBECK -LRB- cont'd. -RRB- Let's you know what they think of saints, does n't it? Damn near set me on fire on my way over here. As if I have n't been burned enough today. A moment where it's impossible to tell which way the wind is going to blow between these two. Then civilly : SWANBECK -LRB- cont'd. -RRB- Sorry I barged in on your vacation. ETHAN Sorry I did n't let you know where I was. SWANBECK Do n't be. Would n't be on vacation if you did. ETHAN Well. You're sorry and I'm sorry. SWANBECK Why did you phrase it like that? ETHAN Like what? SWANBECK ` You're sorry and I'm sorry.' ETHAN You got ta be kidding. Swanbeck turns to his computer and begins play on a DVD, and projected onto a computer screen staring back at Ethan is : VLADIMIR NEKHORVICH NEKHORVICH -LRB- with exaggerate brio. -RRB- Well, Dmitri! How are you? Nekhorvich pauses as if waiting for reply. Ethan smiles. ETHAN I'm fine. and you? NEKHORVICH I'm fine. Ethan laughs. ETHAN I'm fine and you're fine. With Ethan simultaneously whispering : NEKHORVICH I'm fine too. I'm fine and you're fine - do you remember, dear fried, how you got Sergei and I to repeat those lines from Dr. Strangelove and we gave you the name of that silly Soviet Premier because we did n't know your name? In those days, you not only saved our lives, you saved our sanity. ` Now, then Dmitri - we have this little problem' : Every search for a hero must begin with something that every hero requires ; a villain. Therefore, in a search for our hero, Bellerophon, we created a monster Chimera. I beg you, Dmitri, come to Sydney and accompany me to Atlanta immediately. However we travel, I must arrive at me destination, within 20 hours of departure. Forgive this fanciful explanation, but for now prudence dictates that I communicate nothing but the gravest urgency. I fear I can entrust this to no one but you, Dmitri. as we say, ` I'm sorry and you're sorry'. Swanbeck stops the DVD. SWANBECK Let me ask you something. You have any idea what the hell he's talking about? Ethan smiles. ETHAN An idea, yeah. SWANBECK Like? ETHAN Like it's a good idea to pick him up in a hurry. And a bad idea to fly him on a commercial carrier. So let's get on with it. He's still in Sydney? SWANBECK Dr. Vladimir Nekhorvich is dead. So is his colleague, Gradski, but that happened earlier. We had Nekhorvich on a flight from Sydney that crashed in the Rockies. Ethan sits back, heavily. SWANBECK -LRB- cont'd. -RRB- - Hunt, are you listening? Slowly looking up : ETHAN If he did n't want to go anywhere without me, how did you get him on the flight? SWANBECK You were there. Swanbeck clears his throat. He turns back to the computer and punches in : MISSION DOUBLE IMAGE. File open to computer scans of AMBROSE, SEAN, and HUNT, ETHAN, the computer scanning and comparing their features, millimeter by millimeter, stat by stat, as the computer then imposes, with the help of the physiognomy scan, Ethan's face on Ambrose : hence, mission double image. ETHAN slowly looks up at Swanbeck. SWANBECK When I could n't find you, I had to replace you. Sean Ambrose was the obvious choice. He double you, what? Two, three times? ETHAN Twice. SWANBECK What did you think of him? ETHAN You know we had reservations about each other. Is n't it a little late in the day to be asking me that? SWANBECK Not necessarily. Swanbeck shows Ethan a photo of airline Captain. SWANBECK Airline record list Captain Harold Macintosh as the pilot for Flt 2207. as far as the media and all governmental agencies are concerned, Captain Macintosh died on the flight, but in fact he missed it. He did, however make the next flight - in cargo, stuffed into a rather small suitcase considering his size. Another photo of an open suitcase, the body in it partially obscured by a ring of police and customs officers. SWANBECK -LRB- cont'd. -RRB- Someone on that flight planned an operation designed to down the plane and make it look like an accident. Someone skillful enough to bring the whole thing off without a hitch but - they do n't always get your luggage on the plane, even when you fly first class. ETHAN So there's one thing we know Ambrose does n't. SWANBECK Then you do think it was Ambrose. Ethan barely nods. SWANBECK -LRB- cont'd. -RRB- And you're not surprised. Ethan gives Swanbeck a look. ETHAN Whatever Nekhorvich was carrying Sean wanted and he wanted to conceal the fact that he took it. SWANBECK Enough to kill Nekhorvich and two hundred innocent passengers? Ethan smiles. ETHAN Sean feels he has n't done the job unless he leaves a lot of hats on the ground. SWANBECK The question is why? What was this Chimera Nekhorvich was carrying? Ethan rises and moves to the window. ETHAN Right now only Ambrose knows that. SWANBECK In any case, you've got to recover Chimera and bring it to us. ETHAN In order to do that, I've got to figure out how he plans to make money with it. SWANBECK - right. In fact since the plane went down our banking sources have confirmed a marked increase in the stock pilling of cash in terrorists accounts. ETHAN ` Terrorists?' SWANBECK Well you know Nekhorvich's history. You're the one who got him out of the Soviet Union was it still in bio - weapon business. ETHAN If that's what you're thinking Ambrose would have set up a bidding situation with any number of buyers before he got on the plane. Locating him in time to stop something like that - SWANBECK - is where Miss Hall comes in. ETHAN -LRB- blindsided. -RRB- Excuse me? SWANBECK Miss Hall and Ambrose had a relationship which he took very seriously. She walked away and he's wanting her back ever since. We believe she's our surest and quickest way of location him. ETHAN -LRB- acidly. -RRB- And then what? SWANBECK Then makes sure she continues to see him. Gets him confide in her and report to you. ETHAN You made it sound as if I was recruiting her for her skills as a thief. SWANBECK Well, then I mislead you. Or you made the wrong assumption. Either way we're asking her to resume a prior relationship, not do anything she has n't already done. ETHAN She's got no training for this kind of thing. SWANBECK Go to bed with a man and lie to him? She's a woman. She's got all the training she needs. Ethan's anger flashes but does his best to contain it. ETHAN I do n't think I can get her to do it. SWANBECK You mean it'll be difficult. ETHAN Very. SWANBECK Well it's not mission difficult, Hunt. It's mission impossible. Difficult should be a walk in the park for you. If you can think of a quicker way to get to Ambrose, you're welcome to try. Oh, by the way, you might want to take a look at these. if you have any further qualms about getting her to do the job. He pulls out a little Minolta digital camera -LRB- identical to the one in Nekhorvich's bag at airport security -RRB-. Swanbeck sets it on the table. Ethan picks it up the tiny camera and puts it to his eye.", "EXT. - BAR (NIGHT) A grim Ethan, starring fixedly ahead of him emerges to an ever more lively crowd. as he does : STREET VENDOR Senor, senor! Your flowers. The vendor holds up the spring bouquet. Ethan seems genuinely surprised by them. ETHAN Yes. They're very nice. And he's lost in the crowd, leaving a very puzzled vendor holding the bouquet. STILL OF CRASH SITE IN ROCKIES -LRB- THRU MINOLTA STILL CAMERA -RRB- One after the other flashing by. They are more evocative than specific in their suggestion of an abrupt, fiery, ending, where the lives of hundred are literally and figuratively torn apart and strewn over a desolate landscape. NYAH carefully places the little Minolta on a glass - topped coffee table. She's beautifully pulled together, the safehouse has the lights low, flamenco music playing, and when she walks out onto the balcony Ethan sees the candlelit table and a bottle of champagne chilling. There's a light breeze the fire from the burning effigies throwing smoke and flame all over the city. NYAH What's the population of Seville any idea? ETHAN Five, six - hundred thousand. NYAH There's nearly 2 million in London. ETHAN And six billion in the world. NYAH That's lot of people out there. how many of them, I wonder, are capable of something like that? ETHAN Sean Ambrose, for one. A long shocked moment. Nyah laughs. NYAH Right.", "INT. - SAFEHOUSE (EVE - LATER) The pounding beat of the flamenco music seems to fill the room Nyah's back to Ethan : NYAH -LRB- grimly amused. -RRB- Not that it matter much but. I seem to recall you staying something like,' I was hoping we could work together.' ETHAN This was n't what I had in mind, Nyah. NYAH But it is what you'd like me to do. so tell me to do it. She approaches Ethan. They're inches apart. NYAH -LRB- cont'd. -RRB- Come on, out with it. Tell me to go and insinuate myself back into Sean's life. ETHAN Go and insinuate yourself back into Sean's life. NYAH I'd like a little more conviction. ETHAN So would I. But it's not mine to give. NYAH -LRB- archness there. -RRB- You've either got it or you do n't. Let your conscience be your guide? ETHAN Something like that. With a smile and a wink. NYAH But I do n't have a conscience. I'm a bloody thief. ETHAN You can be a thief and have a conscience. NYAH No. You can be a thief and have a conscience : Not me. Why did you have to tell me about this! -LRB- pouring herself a drink. -RRB- What do I have to do to get away from this guy? When you're with him, he messes about with your head every waking moment. even now I'll be at some out - of - the - way - place, a tin of caviar and a bottle of Crystal shows up at the table, with two glass, God knows how he finds out at any given moment where I am in the world but he does. And it looks like he's done it again. You know his definition of a true paranoid? ETHAN I do n't. NYAH Someone in possession of all the facts. -LRB- she turns away, pauses. -RRB- Are you telling me I have to do this? ETHAN Generally, I do n't favor coercing someone. Not when there's a chance my life could end up in their hands. NYAH And that's the only reason? ETHAN Can you think of a better one? NYAH Not me. I was just hoping you might. or that. somehow in the course of business this got personal as well as physical. ETHAN Look, would it make you feel better if I did n't want you to do this? NYAH Much. ETHAN Then feel better! Long moment while she looks at him. ETHAN -LRB- cont'd. -RRB- Well. That made all the difference in the world, did n't it? Ethan walks out onto the balcony. She looks at his back. NYAH Sean will never be anything but suspicious if he picks up some sort of ` yoo - hoo - I'm - not - nad' message. Not after the way we broke up. ETHAN What would n't make him suspicious? NYAH Probably that I needed him in some urgent way. destitute - in serious trouble. the kind I could n't possible sort out myself. Ethan's been smiling slightly. ETHAN Serious trouble, Nyah, is something I can always arrange. NYAH IN A SPANISH JAIL standing for front and side mug shot. O.S. sound of teletype continues. SUPERIMPOSE : Ethan holding up something the size of a dime : ETHAN This little chip sends a coded signal that can be picked up only by our computer. On the screen of the GPS computer, a little yellow blip appears pulsating on the screen. ETHAN'S VOICE When it's in your ankle we can track you within three feet of anywhere in the world. OVER ETHAN AND ONTO COMPUTER SCREEN He types a small Interpol bulletin stating that Nyah Nordoff Hall, apprehended March 13 in Seville, is awaiting extradition while the authorities in London, Paris, and Amsterdam squabble over where she's going to be tried first, for the various thefts and burglaries she's committed in the three cities. COMPUTER SCREEN -LRB- AMBROSE TENT ANNEX - DAY -RRB- Ambrose picking up on a version of the Interpol bulletin Ethan's put out. He leans over the screen for a moment, then moves to the window, and stares out thoughtful at the bay, almost as if he were watching.", "EXT. - NYAH IN JAIL COURTYARD From a beautiful blue sky, pan down to the courtyard of the jail where Nyah is allowed out for an airing, seemingly alone but being watched by : ETHAN AND COMPUTER SCREEN His attention fixed on the screen, Ethan stares at satellite shot of Nyah in the jail courtyard.", "INT. - PRISON - NYAH being allowed a phone call, a prison guard visible b.g. Cross cut with Ethan. ETHAN Look, I ca n't run your arrest in CNN, but I guarantee he's monitoring every law enforcement agency in the world, for what they might be saying about him, if nothing else - he's got the ability and, we assume, the desire to get you out of there. NYAH This does n't seem to be accomplishing much. ETHAN Well, I mean it's not a total loss. It is keeping a very capable thief off the street. NYAH Very funny. maybe he has heard and does n't want to know. Maybe he's lost interest. Her guard, b.g. is handed a note. GUARD -LRB- to Nyah. -RRB- Your lawyer to see you. NYAH What lawyer? ETHAN AND COMPUTER SCREEN ETHAN Well, here we go. SECTOR : AUSTRALIA, moving into NEW SOUTH WALES, and then to : Sydney. Here Ethan pulls up names, photos and profiles of potential candidates. They scroll past, one face morphing into another. Ethan punches in on WILLIAM A. BAIRD. EXPERTISE : Qualified in virtually every mode of transport, land, sea, air. ORDINANCES : Small arms and automatic weapons authority, edged and impact weapons. PROCUREMENT : Resourceful. EXPLOSIVES : Precision detonation, diffusion. Ethan punches : Request immediate availability.", "EXT. - GOVERNMENT BUILDING - SEVILLE (DAY) Nyah emerges from the entrance to the jail. ETHAN Stop and look for something in you purse. kneel down. She does. They're effectively blocked from the street. NYAH Limo's waiting. Ethan hands her a key chain with what appear to be a car - key. ETHAN - Ambrose will have counter - surveillance second to no one's. When and if he contacts you, push this button before you actually end up under his roof it'll scramble your transmission to us. She takes the key chain. Her hands are shaking. NYAH When will you be there? ETHAN Before you are. NYAH How can you possibly? I've got to get right on the plane. I'm leaving now. ETHAN You do n't trust me. NYAH Oh, I do. But as we know I'm a very poor judge of character. ETHAN He's got you on Qantas flight 2735. It's going to be delayed. NYAH Yes? ETHAN You'll be fine. I'm going to lose you. NYAH Ethan, you take care of yourself, I'll take care of myself because if push comes to shove, I'm gon na bail - and without giving two week notice. ETHAN Well, forewarned is forearmed. And while we're at it, be especially sensitive to any sudden change in Ambrose's plans, especially any involving you. They rise. A quick squeeze of her hand and he's gone. A look of something like longing replaces the toughness as she gazes after him, then starts across the street toward the limo and driver. MI music theme kicks in and continues over : POV HELICOPTER -LRB- MOVING - SYDNEY - DAY -RRB- over the Harbor Bridge, sails dotting the bay like confetti.", "EXT. - FARM (DAY) pans of sheep are bleating and looking for sort of cover in response to the sound of a helicopter touching down.", "EXT. - COPTER (DAY) Billy and Luther emerge, Luther with computer looking acutely uncomfortable in a wrinkled suit. ETHAN'S VOICE Welcome to Australia, mate. They look up to a smiling Ethan who points to the ground beneath Luther's feet. Luther looks down to see that he is standing in a pile of sheep - shit. LUTHER Thanks - mate. Both men laugh and all three move to :", "INT. - FARMHOUSE (DAY) Luther and Billy with Ethan setting up their operation. There's a blip on one of the screens. LUTHER It's the transponder. ETHAN Put in the coordinates and let's get a visual. The visuals are n't coming up. LUTHER The satellite does n't work as fast as I do. BILLY Yeah, I've heard about you, Luther, and I just want to tell you it's an honor and a pleasure to be working with you blokes, whoaa! That's some transponder! As Billy speaks, the visual come on line and Nyah has become visible. LUTHER -LRB- a jaundiced eye, to Ethan. -RRB- It certainly is. How did we get so lucky? Ethan pointedly ignore the question. POV - MOVING -LRB- PALM BEACH - DAY -RRB- rounding the tip of the bay's crescent, revealing the beach and dock at Ambrose's palm - lined residence. NYAH The speedboat's engine's are cut. Nyah looks momentarily stricken. POV NYAH -LRB- MOVING -RRB- a lone slender figure silhouetted at the end of the dock, still as the piling besides which it stands. But the features remain obscured by the sun at his back. ETHAN leans forward as the slender figure grows larger, BILLY -LRB- to Ethan. -RRB- Is it him, then? POV - MOVING The tide is too low for the boat to dock, making it necessary for he boat to approach the shore. The slender figure moves off the end of the dock and onto the beach. THE CIGARETTE idles into shadow water but the props start chewing into the sand - the boatman grumbles he ca n't get any closer. The slender figure has moved to the shoreline and the angle of the light changes - Ambrose is waiting. Nyah hesitates only a flicker of an instant, slips over the side into thigh - high water without taking her eyes off Ambrose. Ambrose strides right on into the bay. as they are just an arm's length apart : NYAH takes a deep breath, presses the button to scramble the transponder.", "INT. SHEEPFARM SAFEHOUSE WITH ETHAN The picture abruptly goes dead. BILLY Damn. Just when it was about to get interesting. ETHAN It's okay. She scrambled the transmission. Luther, continue feeding the GPS her position. Luther punches in. The signal - and the global coordinates are given. They wait.", "INT. - SPACE The satellite positions itself. WITH THE THREE ETHAN Ca n't we speed this up. Luther shoots him a disgusted look. LUTHER With what? This is the only computer that'll do this. THE SIGNALS AND PHOTOS start to bounce back, growing larger and larger on the screen, until : Nyah can be seen, water up to her thighs, lingering in Ambrose's arms with each blow - up, and linger. And lingering. BILLY - right. Now there's a bloke who knows how to deliver a proper welcome. Do n't get me wrong, mate. You were quite hospitable. Is it him, then? Ethan's look suggests he's worried about lapse in recruiting judgment. LUTHER It is, Billy. BILLY Then we got'em! ETHAN We do n't know what we've got because we do n't know what he's got, where he's got it or what he's doing in Sydney with it. Ethan strides away from the screen, the edge in his voice and the move not altogether lost on either Luther or Billy.", "INT./EXT. PALM BEACH - DAY Perfectly poised, still loosely in his arms, Nyah returns Ambrose's penetrating gaze with a pleasant, clear eyed one. AMBROSE Not much luggage. NYAH I left in a bit of a hurry. I'm terribly grateful, Sean. AMBROSE How grateful? NYAH Well that depends. AMBROSE On what. NYAH How hard you had to work to get me out of there. how in the world did you ever find me? AMBROSE -LRB- stopping. -RRB- How I usually find you, Nyah. NYAH How do you that. AMBROSE Magic. NYAH Ahh. POV THRU TENT ANNEX WINDOW -LRB- AMBROSE COMPOUND -RRB- looking down the length of the dock. Ambrose, his arm around Nyah and carrying her suitcase, moves up the dock toward the house and camera. Stamp steps into the annex and looks over to Wallis, who watches Nyah on the monitors. WALLIS No flies on her. -LRB- checking her on a scanner screen. -RRB- No bugs either. She's clean. STAMP -LRB- drily. -RRB- All cats are.", "INT. - ETHAN - SAFEHOUSE (SHEEP FARM - DAY) Ethan watches the Nekhorvich video on the computer screen. NEKHORVICH therefore in a search for our hero, Bellerophon, we created a monster, Chimera. Ethan then flips through a series of pictures on the computer depicting the myth of Bellerophon attacking Chimera. Billy moves up behind him. BILLY What you got there, mate? ETHAN A myth. just a myth. should n't you be checking out their countersurveillance? BILLY Well you know his blokes'll place the OSCOR in his annex, where else if you're pinpointing transmitters, video signals, covert chip cameras, anything radiating, oscillating. ETHAN or hard wired. BILLY -LRB- please. -RRB- - or hard wired, right. First line of perimeter defence'll run from the back of the dock to the front of the house. Whatever moves burps or bleep is gon na be picked up to a height of twenty feet. Basically impenetrable, I'd say. LUTHER Ethan, here's Nekhorvich, and here's his boss Luther scans an entry from the IMF database with newspaper clippings, sidebars of still of McCloy and Nekhorvich. LUTHER -LRB- cont'd. -RRB- McCloy, Jon Chaddick, CEO Biocyte Pharmaceuticals. D.O.B. September 30, 1952, Manchester, England. BILLY -LRB- a little lost. -RRB- Well do you disagree with that? ETHAN Not at all. But how about going into town and confirming your intuitions on site? BILLY Oh well, if that's how you feel about it. Billy leaves. LUTHER then Cambridge. Harvard. entrepreneurial efforts. in efforts. in 1989, acquired Biocyte in hostile takeover. As Luther transfer info to Ethan's computer : LUTHER -LRB- cont'd. -RRB- Ethan, have a look at this. On Ethan's screen appears the Biocyte website ; where among he various icons one offer McCloy's proud detailing of Biocyte's philanthropic efforts : MCCLOY'S VOICE We at out state - of - the - art solar powered Biocyte building recognized that eternal vigilance is the price of health. whether it's funding the teaching center at the Royal Prince Edward Hospital, removing aerosol products from the marker or braving the influenza quarantine at Bruny island late last month. at Biocyte your life. is our life's work. ETHAN -LRB- quietly. -RRB-. Biocyte workers at Bruny Island.", "INT. - AMBROSE'S (DAY) They've reached the head of the stairs. Ambrose opens a door. It's a large bedroom opening onto a veranda with a view of the tent annex and the beach, and a very large bed. NYAH Your room. AMBROSE -LRB- yes. -RRB- Mmmm. NYAH And my room? A long moment. Ambrose walks to a mirrored wall. The mirrors are sliding doors. With a sweeping gesture, he slides one of the mirrors back and reveals a wardrobe of beautiful designer clothes. AMBROSE Thought you could use a little something to wear. Nyah stares at the spectacular wardrobe. Ambrose pulls out a slinky Armani and drapes it on the bed. AMBROSE -LRB- cont'd. -RRB- Try it on. Nyah hesitates. AMBROSE -LRB- cont'd. -RRB- Go ahead. I'm dying to see if I remembered your size. Nyah picks it up. NYAH No changing room? Ambrose sits on a chair by the window and waits. Her blouse, belt, skirt, fall on the bed. As her slender arm reaches down to pick up the Armani : AMBROSE grips her wrist, the flimsy Armani dangling in the air. CLOSE - NYAH meeting Ambrose's look. NYAH You're not interested in seeing how it looks. AMBROSE Oh, I am. Later. The Armani falls in a fragile heap on the floor. CLOSE - ETHAN -LRB- DUSK -RRB- standing off to one side, listening to Nekhorvich's voice. NEKHORVICH therefore in a search for our hero, Bellerophon, we created a monster, Chimera. LUTHER Why's Nekhorvich going on about an old Greek myth? ETHAN Nekhorvich specialized in recombining DNA molecules. In the myth, Bellerophon killed Chimera, a recombinant monster with the head of a lion and the tail of a serpent who plagued the ancient world. I think Nekhorvich has created a monster virus in Chimera and apparently the means to kill it in Bellerophon. LUTHER That simple, huh? ETHAN Why not?", "INT. AMBROSE BEDROOM - DUSK CLOSE - NYAH lying back on a pillow, looking and off into space to right off camera. She hears Ambrose's voice, with Ethan's voice AMBROSE'S VOICE/ETHAN'S VOICE Damn, you're beautiful. Nyah reacts as if she'd been rapped on the nose, her eyes moist. She turns abruptly to camera. NYAH Did you say something? AMBROSE leaning on an elbow, looking down. AMBROSE I said you're beautiful, Nyah. NYAH Only because. it's spring. chalk it up. -LRB- looking him dead in the eye. -RRB- - to spring fever. Ambrose, amused, lights a cigarette and inhaling : AMBROSE Wo n't do, love. It's not spring. It's nearly autumn. You're in Oz. everything's upside down and backwards here. NYAH -LRB- more direct. -RRB- Maybe that's it, then. Everything's upside down and backwards. CLOSE - ETHAN -LRB- SHEEP FARM SAFEHOUSE - DUSK -RRB- ETHAN Luther. get us everything you can on the outbreak of influenza on Bruny Island last month, including photos of the victims. LUTHER Right. I guess there are n't many flu epidemics in the middle of summer. Luther resumes working on his computer and sees Ethan is locked on Ambrose's compound on his computer screen, thinking of Nyah. LUTHER -LRB- cont'd. -RRB- She did it, Ethan. Nyah's in the compound. ETHAN Yeah? I've just rolled up a snowball and tosses it into hell. Ethan stands. OUTSIDE THE SHEEP FARM SAFEHOUSE A brooding Ethan exits the sheep farm safehouse under a setting sun. ETHAN'S VOICE Now we'll see what chance it has. Ethan stops, looking out over the broken plain. His voice is heard overlapping into the next scene. ETHAN'S VOICE -LRB- cont'd. -RRB- -LRB- softly. -RRB- Damn, You're beautiful. CLOSE - NYAH -LRB- NIGHT -RRB- lying in bed, obviously hearing Ethan's voice again, and feeling very much alone. She stares out into the night, a gaze that in its bemused intensity is an exact match to Ethan's.", "INT. AMBROSE STUDY - EARLY DAWN CLOSE - PHOTO - HONG KONG TIMES its front page, except for the headlines and date, covered with stacks of paper money, banded bundled dollars piled high as a cord of wood. The amount $ 24 millions is written in ink over the money. AMBROSE Twenty - four mil. Ambrose's hands shift to another photo of another newspaper, the LONDON TIMES, this one piled high with English pounds and the written amount : 37 million pounds. AMBROSE'S VOICE Thirty - seven million pounds. That's a promising bid. The third photo is of the AFTERNOON ARUBAN, with $ 14 million packaged on it. Ambrose, wearing a robe and seated at a glass - topped table, sets this last photo on the table on top the others. He picks up Nekhorvich's digital camera, removes the film disk, and snaps it into its plastic case. He places the case into an envelope -LRB- NOTE : The same envelope seen at the track -RRB- and hands it to Stamp. AMBROSE We'll need this at the track. Well then. Sorted. Stamp is seated near him. Glances toward Ambrose's bedroom and Nyah asleep in Ambrose's bed. STAMP -LRB- pointedly. -RRB- Not everything. Why do you think she's really here? AMBROSE From her point of view or mine? STAMP Was n't exactly gagging for it when she left you six months ago. The question is, do you trust her? As he speaks, Ambrose pulls a cigar case and a cutter out of his robe. Takes a cigar out of the case and clips the end of the cigar ; the razor - sharp cutter decapitates the tip of the cigar like a guillotine. AMBROSE One considers her timing, of course - getting nicked within a week of the plane going down. Suggestive, even borderline suspicious, but hardly conclusive. STAMP Well, you've thorough about it, at any rate. Ambrose opens the cutter again to clean off the fragments of tobacco trapped by the cut. AMBROSE Tell me, Hugh. You do n't exactly hang on Nyah's every word and gesture, do you? Fairly ratty nail, that. Sean touches the nail of Stamp's left pinkie finger. Stamp reacts by slightly withdrawing his hand. STAMP Sean. With his left hand Ambrose grabs Stamp's left wrist. AMBROSE You're not scrutinizing any casual shrug for some hair - splitting nuance, are you? STAMP Sean, please. Sean pulls Stamp's hand closer. AMBROSE Suppose she is some sort of Trojan horse sent in by IMF to spy in us, why should I deny myself the pleasure of a ride or two? Or do n't you think I can learn more from her than she can from me? Ambrose twists Stamp's wrist so that Stamp drops to one knee trying to alleviate the pain. STAMP -LRB- in pain. -RRB- I do! Ambrose leans in close to Stamp's face as he places the cutter around Stamp's pinkie. AMBROSE Now Hugh, you must realize that some of us have the burden of sex to deal with. and my dear chap. I may or may not know why she thinks she's here, but I'm willing to take the risk, because Hugh, I am gaging for it. Ambrose closes the cutter on Stamp's finger and cuts the nail, just nicking the top of the finger and drawing blood. Stamp cries out. Ambrose tosses Stamp a napkin, light his cigar and exhale. AMBROSE -LRB- cont'd. -RRB- Do n't ever question my judgment again.", "EXT. RANDWICK RACE TRACK - DAY EMPTY FRAME with no sound, the back stretch an unrecognizable blur until horses at high speed burst into the frame bringing with them the sight and sound of their great nostrils snorting and gasping for jostling and going to the whip, the sound of the crowd overwhelming all but the announcer's voice carrying everyone around the far turn and into the home stretch with a ringing, controlled frenzy.", "EXT. - PRIVATE BLEACHER (DAY) Nyah and Ambrose rising as the horses cross the finish. AMBROSE -LRB- surprised. -RRB- You won. NYAH -LRB- looking at her ticket. -RRB- I suppose I did. AMBROSE What made you pick that nag? She'd never won a bloody thing. NYAH ` Thief in the Night?' AMBROSE Say no more. I'm off to grab a drink. Still favor Bellinis? She smiles, a little shakily. Ambrose leaves. A VOICE Naturally Vain. It's Billy passing behind her. NYAH Pardon me? BILLY ` Naturally Vain.' In the fourth. Check her out. She's due. Billy hands her a chest sheet and moves on. She opens it to the fourth race. Taped onto ` Naturally Vain' is a small plastic piece with the note. she regards the note, places the plastic piece in her ear. ETHAN'S VOICE You can speak as if I'm right by your side. NYAH -LRB- picking up binoculars. -RRB- Where are you? ETHAN'S VOICE At the mounting enclosure, just off the tracks at two o'clock. THRU BINOCULARS - NYAH'S POV - MOVING thru the crowd onto the track over to the pre - post paddock where an animated gaggle of owners, heavy batters and investerace touts surround it. Only Ethan is stock still - and looking up at Nyah. CLOSE - NYAH a swift intake of breath as she see him. ETHAN How's it going? Everything okay? NYAH Just like old times. ETHAN Just like old times? NYAH Just about. She appears to be the picture of unruffled sang - froid. ETHAN Tell me who you've run into at Ambrose's. ETHAN'S POV -LRB- THRU GLASSES -RRB- moving from Nyah to the champagne bar just behind where Ambrose is seen greeting someone in the crowd and they sit at a corner table in front of the window overlooking the track. NYAH -LRB- a breath, then :. -RRB- Near as I can tell, there's at least a half - dozen other blokes about the place. Maybe more. Hugh Stamp, an old mate of Sean's, is the only one I recognize, bit of a creep and then some. POV ETHAN Stamp, stands a pillar, his finger bandages, looking glum and looking down at Nyah. ETHAN We know him. He's over your left shoulder, looking right at you as you go on. NYAH - Michael, his driver's an Aussie, new to me. Then there's the blokes in the annex at the back of the house. ETHAN Have you met them? NYAH Annex is strictly off limits to me and they never come to the main house, Michael even takes their meals to them all but shoves them under the door. ETHAN -LRB- looking into Champagne Bar. -RRB- I've no doubt. ETHAN'S POV MONOCULAR VIDEO RANGE FINDER of Ambrose sitting with someone whose face is obscured from his angle by bar patrons. BILLY is also looking. POV RANGE FINDER BILLY and from his point of view it can be seen that Ambrose is talking with John McCloy, the head Biocyte. Ambrose takes an envelope out of his inner left jacket pocket and from it pulls out a small plastic container marked'S. G.' -LRB- Identical to the object first seen in Nekhorvich's satchel at airport security. -RRB- He opens it and removes a small shiny object about the size of a quarter. He turns to the window and gestures. Stamp enters the bar. BILLY Ambrose is meeting some bloke in the bar. Big bloke, ginger hair. They're into something. ETHAN'S POV ETHAN I'll be damned. It's McCloy, the Biocyte CEO. LUTHER Nekhorvich's boss? ETHAN Yep. NYAH Ambrose has photographs of newspapers with loads of money piled on them - thirty - seven million on the London Times. What's that about? ETHAN Bids from possible Chimera buyers - to prove that as of the date on the newspaper those bids are back up by earnest money -", "INT. - VAN - LUTHER is monitoring both cameras. All see Ambrose give the little wafer - like object to Stamp who places it in a small camera, hands it back to Ambrose and exits, waiting just outside the glass door. Ambrose hands the camera to McCloy who looks puzzled. LUTHER Looks like Ambrose is showing McCloy how to use a digital camera. McCloy puts it to his eye, fumbles, then with Ambrose's direction : ETHAN Whatever McCloy's looking at, he's not happy about. McCloy puts the camera down. The two men have words. McCloy shakily leave the table. Ambrose opens the camera. LUTHER Ambrose just pulled the memory card out of the digital camera and put it into an envelope, put it in his inner left jacket pocket. ETHAN Left jacket pocket? LUTHER Roger that. ETHAN Confirm. Left jacket pocket. LUTHER Left jacket pocket confirmed. ETHAN BY THE MOUNTING ENCLOSURE ETHAN Nyah, Ambrose is heading back. There's an enveloped inside - NYAH - his left jacket pocket. ETHAN Affirmative. AMBROSE passes by Stamp on his way back, hands him the camera. NYAH -LRB- after a brief pause. -RRB- Where do I meet you? ETHAN Betting table twelve off the paddock. Nyah, are you up to this? NYAH I'll muddle through. WIDE ANGLE - BLEACHER -LRB- DAY -RRB- Ambrose arriving with a pair of drinks. Nyah rises. AMBROSE See anything you like? NYAH Yeah. Naturally vain - but they're about to close the betting table and I have n't a sou. While Ambrose is still juggling the drinks, Nyah reaches into his trouser pockets, and rummages around. AMBROSE -LRB- laughing. -RRB- Nyah! ETHAN Billy, make sure Nyah's not followed. BILLY No worries, mate. She pulls out a fifty - dollar note. NYAH Would you mind terribly? AMBROSE -LRB- cont'd. -RRB- -LRB- amused and turned on. -RRB- - not at all. But you'll pay for that and with interest. NYAH I've no doubt. She heads up the stairs. AMBROSE -LRB- reaching into his pocket for money. -RRB- Hold on. Ambrose grabs her arm, and she almost drops the envelope she's just lifted. -LRB- NOTE : It is important not to see her actually lift it -RRB-. She's holding it, pinned between her right arm and side. As it's slipping, she notes Stamp above her, looking down and has to conceal what she's holding from him as well : AMBROSE -LRB- cont'd. -RRB- Put down a couple of hundred for. NYAH To win? AMBROSE What else? She takes it and as she does the envelope falls, but she manages to catch it with her left hand, blocking the move with her body as she does. WIDER ANGLE - NYAH moves along the aisle. ETHAN'S VOICE Luther, smallest digital you got. Ready to transmit. Betting table twelve.", "EXT. - VAN (DAY) designated as NEW SOUTH WALES DELIVERIES, ` anytime, anywhere.' Luther bursts out of the van, carrying the tiny camera and begins to thread his way thru cars and foot traffic. BILLY in dramatic contrast ambles at a conspicuously leisurely pace. NYAH passes Stamp, not seeing him standing just a row above, blocked from her by one of the pillars. Stamp idly regards her and then decides : he follows. LUTHER perspiring, approaches the betting table thru the last of the parked cars. STAMP approaches the door thru which Nyah had gone and starts to open it - only to have the door slammed in his face and on his bandaged finger by Billy, in a track usher's uniforms. BILLY -LRB- very solicitous. -RRB- Sorry about that, mate, that must've really - aggrhh! Even as Stamp winces in pain his arm has shot out and Billy finds himself pinned to the wall gasping for air. If he'd been welded there by a band of steal he'd have more room to maneuver. STAMP Say again? BILLY Aggrhh - aggrhh - aggrhh. STAMP Whatever you're about in future, watch your step. Never know who you might run into. Stamp looks around, Nyah's nowhere in sight. He's lost her. Sees his hand's bleeding and lets Billy go, who nearly drops to the floor. STAMP Where's the loo then? BILLY -LRB- pointing up. -RRB- - aggrhh - aggrhh - aggrhh. Stamp heads up the men's room. BILLY -LRB- croaking it out. -RRB-. Shakes his head, feeling lucky to escape with his life.", "EXT. - PADDOCK - BETTING TABLE TWELVE Nyah into shot. Stands in line. She looks around. ETHAN'S VOICE How'd you do? Do n't turn around. Nyah turns and looks Ethan dead in the eye. NYAH I managed. ETHAN You noticed. What're you going to do? Spank me? She slips Ethan the envelope. Ethan himself returns the look, holding it in spite of : BILLY'S VOICE Stamp's out of the loo. Luther arrives, with the camera, opening for Ethan. Nyah turns away. Ethan pulls out the tiny memory card, slips it in the camera. ETHAN -LRB- CONT'D. -RRB- -LRB- looking into camera. -RRB- This is going to take a couple of minutes. LUTHER is racing back to the van. LUTHER There in twenty, Ethan. NYAH AND ETHAN -LRB- IN LINE -RRB- edge toward the window. BILLY'S VOICE Stamp's a little shaky, but headed your way, mate. ETHAN Copy that. -LRB- to Nyah. -RRB- Who do you like? In the race? NYAH -LRB- nervous, she's heard Billy too. -RRB- What race are we talking about?", "INT. - VAN (DAY) A sweaty Luther : LUTHER I'm booted up. Go, Ethan. BILLY'S VOICE He's heading down the stairs, now. Ethan places the digital camera on play and begins to go thru the stills. As they cliff off, Ethan is visibly affected. LUTHER IN THE VAN watches the stills as well. He's no less affected. ETHAN WITH NYAH He mutters some expletive under his breath, then, evenly : ETHAN I want you out of Ambrose's place. BILLY'S VOICE He's one tier from the bottom. Ethan glances over to the bottom of the stairs. NYAH What are you talking about? As he lowers camera and removes the memory card. ETHAN I want you out of there. NYAH Why? What's happened. What did you see? BILLY Thirty steps. Slipping card back into envelope. ETHAN Nyah, you've done more than enough. Even the best of snake charmers get bit. NYAH Ethan, tell me - BILLY'S VOICE Twenty, nineteen. Ethan's been talking to someone he's been urging to walk, not run to the nearest exit. Now he drops all pretence : ETHAN I want you out of Australia! -LRB- more quickly. -RRB-. I do n't know how much more plainly I can put it. NYAH How do you suggest I go about it? ETHAN He's touched your heart. You're overwhelmed. You need to think it over. You'll meet him somewhere in a month. If You're not out in 48 hours I'm coming in and getting you out. Give me the ear piece. She just gets it out of her hear and gives it to Ethan when she reaches the bookie who warns her to get down her bet. She gives him her money and gets the tickets just as the buzzer goes off - no more bets. Flustered by it she picks up her tickets but drops the envelope. She quickly kneels and scrambles to recover it, tucking it away and looking up - to see Stamp standing over her. almost exactly where Ethan had stood when she looked away. NYAH tries not to register alarm while she gauges how much Stamp had seen. STAMP Get your bet down? NYAH Just. She rises. Stamp waits only a moment then follows. AT THE PRIVATE BLEACHERS -LRB- DAY -RRB- everyone's on their feet, the horses are in the backstretch. Ambrose is watching the race through binoculars. Nyah comes up behind and puts her arms around him. With her left hand she puts the envelope into his right jacket pocket. AMBROSE Your nag is making a run for it on the outside! -LRB- lowering binoculars. -RRB- Bloody hell, Nyah! She's momentarily startled. Then : AMBROSE -LRB- CONT'D. -RRB- You picked another winner! NYAH Well, that's good, is n't?", "INT. SHEEP FARM IMF SAFEHOUSE - DAY A BLOW UP of a shot from a digital camera card. ETHAN'S VOICE Dr. Segi Gradski, Nekhorvich's colleague and lifelong friend. The photos is coded with the data in the lower left hand corner, 01.27.99, the time in the right, 10:02:56 A.M. Burned into the photo is'20 hours, 03 minutes after exposure.' Ethan paunches in. ETHAN'S VOICE -LRB- cont'd. -RRB- Twenty hours and three minutes after exposure. -LRB- sotto voce. -RRB- Twenty hours. Ethan does n't say anything for a moment, then goes on to the next photo on the card :'25 hours, 40 minutes after exposure.' It's Gradski again. Gradski's eyes are darkly circled, his skull look mottled. ETHAN Six hours later. Another photo :'31 hours, 30 minutes after exposure.' Gradski's bleeding from nose, mouth and ears, the skin eruptions are pervasive, his body an open wound. ETHAN -LRB- cont'd. -RRB- Six more hours. The next photo. '34 hours, 25 minutes after exposure.' Gradski's body at rest. ETHAN -LRB- cont'd. -RRB- Three hours after that, Gradski was dead. LUTHER Here's a victim from the Bruny Island outbreak. The victim's face shows a devastation undeniably like Gradski's. A long, long moment as Ethan, Luther, and Billy sit in silence. BILLY Oh, happy day. Ethan looks again at the first photo of Gradski. ETHAN Nekhorvich said ` However we travel, I must arrive at my destination within 20 hours hours of departure.'", "EXT. AMBROSE VERANDA - LATE AFTERNOON CLOSE - NYAH Nyah is on the balcony. Ambrose enters with two glasses of champagne. AMBROSE To Australia. It's made so many convicts feel at home. Here's hoping it does the same for you. He laughs. She does n't. NYAH Sean, there's something I've been meaning to talk to you about. Is n't going to be easy for me to say. AMBROSE -LRB- jocular. -RRB- Then do n't say it. NYAH I do n't know what to do about you, Sean. I'm more than a bit muddled. I need time. AMBROSE To do what? NYAH Sort it all out. AMBROSE And you're going to have time. There's been a change of plans. NYAH A change of plans? AMBROSE Yes. We wo n't be able to have dinner tonight. Something's come up. I hope you do n't mind. NYAH Oh, no, not at all. Maybe just a bit. AMBROSE Ulrich will be about. He'll look after you. NYAH Lovely.", "INT. - AMBROSE STUDY (LATE AFTERNOON) Ambrose enters, slips off his jacket and hangs it over a chair. He walks to a desk and brings up a computer the Biocyte website and McCloy infomercial. Stamp notes that Ambrose is on the computer and moves to the desk. STAMP I thought you were going to dinner. AMBROSE -LRB- pulling up something on the computer. -RRB- Hugh, take care of the Nekhorvich memory card. STAMP Where is it? AMBROSE In the envelope in my pocket. My right. jacket. pocket. Stamp leans over and pulls out the envelope. As he does he sees Ambrose has pulled up and started to play McCloy's informercial. AMBROSE -LRB- cont'd. -RRB- -LRB- calmly. -RRB- We've got an opportunity here. I'm not going to miss it.", "INT. SHEEP FARM - ETHAN & CREW CAMERA CARD PHOTOS a microscopic view of myriads of ugly green spiky objects amid exploding red ones. ETHAN Chimera attacking human blood. One more shot. A lavender stained group of spiky objects amid exploding the green ones. ETHAN -LRB- cont'd. -RRB- Bellerophon attacking Chimera. On an adjacent screen is a frozen frame of McCloy looking thru the digital camera at the racetrack. BILLY Ambrose obviously got these from Nekhorvich on the plane. LUTHER What manic invents disease like that in the first place? Why would he do it? ETHAN I do n't know, but Nekhorvich was not a manic. Get me a twenty on Nyah. LUTHER She must still be on the property. ETHAN I told her to get outta there.", "EXT. - LIMO (EVE) McCloy gets in the rear of the limo and lights up a cigar. The limo takes off. another car pulls out and tags along behind the limo.", "INT. - OTHER CAR (MOVING) Michael at the wheel.", "INT. - LIMO - MOVING (EVE) McCloy does n't like the taste of the cigar, goes to toss it out but the electronic window button does n't work. He notices the evening paper partially open on the seat. His name leaps out. He opens the paper THE HEADLINES announce that John C. McCloy, CEO of Biocyte, Inc., one of the world's leading pharmaceutical companies, has died of a straight and terrible strain of influenza Shocked, McCloy drops the paper, calling out : MCCLOY George. George. George. The drover does n't turn around. McCloy ca n't believe it. He bangs on chauffeur window. The driver turns on the air conditioning in the rear of the limo. McCloy clutches his throat and passes out.", "INT. ICU UNIT - NIGHT MCCLOY regains consciousness. He's got tubes coming out of every orifice and is contained in the equivalent of a plastic bubble. Drenched in perspiration and he looks around for a call button. He grips the side of the bed. MCCLOY Bloody room. just. shut your eyes, shut your eyes. He ca n't resist. Opens them to look up thru the plastic to see : NEKHORVICH a shimmering blur coming in and out of focus. MCCLOY -LRB- cont'd. -RRB- I'll be buggered! What's this then? NEKHORVICH A visit from an old friend. MCCLOY What's happening here? You're dead! NEKHORVICH Fatigued, certainly. But dead is a little extreme. On the other hand, when me dear Gradski had your pulse and blood pressure he has less than ten hours to live. MCCLOY -LRB- confused. -RRB- It was in the bloody papers, on the telly. what's this about Gradski? NEKHORVICH You are infected with Chimera, my friend.", "INT. - AMBROSE BEDROOM (NIGHT) NYAH is on the phone. NYAH International, please. I'd like to make a reservation on the next available flight tonight. OPERATOR Where to? NYAH Where is next available flight going? The operator answers. NYAH Fine. I'll take it. She hangs up, goes to the door. The house is eerily silent. POV - STAIRWELL -LRB- NIGHT -RRB- a play of shadows, the sound of the kitchen fridge. CLOSE - NYAH Moves softly downstairs & hesitates at bottom, glancing about. NYAH Ulrich? Ulrich! Silence. she goes into the kitchen. No one. She goes out the door.", "EXT. SYDNEY - NIGHT OVER NYAH'S SHOULDER - MOVING running pell - mell down to the shore. Stops. Looks outside the small skiff moored at the end of the dock. It's dark and she decides to chance it. She moves onto the pier, trying to glide by the boathouse. A figure darts out and grabs her. She tries to scream but ca n't. The figure whips her around and she sees : ETHAN Easy, easy, easy, shhh! NYAH Oh Ethan! She throws her arms around him. ETHAN Are you okay? NYAH I am now. Get me out of here. Just get me out of here. ETHAN It's going to be okay. He holds her.", "INT. - HOSPITAL ROOM McCloy's strapped down, but manages to reach the call button and push it. Again and again. NEKHORVICH No use, my friend. The medical staff wants no part of this. Doctors do n't fancy the idea of dying any more than anybody else. McCloy stares at Nekhorvich for a long moment. MCCLOY How could I possibly be infected? Nekhorvich shrugs. NEKHORVICH That's exactly what Gradski said - 27 hours before he died. With Chimera, the most minute exposure can be fatal. McCloy again looks at his vital sign on the monitor. He grips the edge of the hospital bed. NEKHORVICH But then you should n't be feeling to ill. not for another three of four hours anyway. McCloy breaks a fresh sweat in a sudden spasm of anxiety. MCCLOY You have Bellerophon. NEKHORVICH -LRB- mildly. -RRB- Do I? MCCLOY You took it! All of it! And what if I need it? NEKHORVICH -LRB- amused. -RRB- ` If?' My, my, my. the five hundred people on Bruny Island that you deliberately infected with Chimera needed it as well. MCCLOY Oh, please! How was I to know they had to be treated with Bellerophon within twenty hours? NEKHORVICH By asking me. MCCLOY You still do n't get it, do you? You want to make an omelet, you break a few eggs - I needed to know just how bad the disease was - in the real world, not the lab. And you never know til you try. You thought you were genetically splicing together strains of influenza to create a cure for all influenzas. But I saw you creating a disease so terrible in Chimera that the cure would be priceless. NEKHORVICH You wanted the disease in order to peddle the cure. MCCLOY Well, the thought had occurred to me. I needed Chimera in order to peddle Bellerophon. For hero to be appreciated, you need a monster. Now that's not so difficult to understand, is it? Look, time was a shot of penicillin could knock off every bloody bug in the zoo! Not anymore! have you any idea the R&D money it takes to float one little pissy boutique antibiotic that's barely effective against one strain of one bacterium? If I could n't makes money killing the microscopic little shits that are out there, you'd help me put one out there I can make on! there it is. I've confessed. I, John C. McCloy, am in business to make money. Lilly's making billions feeding Prozac to depressed dogs. Pfizer does n't even know where to put the money they're making on Viagra, and let me tell you that shit did n't do a thing for me even at twice the recommended dose, Jesus, who do I have to screw to get a a break! now get me out of here, get me treated and let's go back to work! NEKHORVICH You know, I think it's a little late for that. Do give my regards to Gradski if you see him.", "INT. - HALLWAY (OUTSIDE MCCLOY'S ROOM) Nekhorvich heaves a sigh and rips off a latex mask, and the vocal oscillator, revealing an exhausted Ethan. Angle widens to include Luther and Billy in hospital greens. Luther and Billy nod in disgusted assent.", "EXT. - ANNEX (NIGHT) NYAH holds tight in her embrace with Ethan. NYAH Ethan, you know what frightens me most when I'm with him? the thought of never seeing you. how are we getting out of here? ETHAN Nyah, it's very important not do anything to alarm Ambrose. NYAH What? You told me to get out of here. I thought you were here to collect me. I was so relieved. ETHAN -LRB- with growing urgency. -RRB- No time to explain. You've done well, and we're so close. So close. It's critical that you do whatever Ambrose asks. Do n't worry - it'll be over soon. That's a promise. Come on, now off you go! He gives her an affectionate smile and she reluctantly heads back to the house, her expression troubled, even suspicious.", "INT. - HALLWAY (OUTSIDE MCCLOY'S ROOM) Having just taken off the mask, Ethan stands with Luther and Billy. LUTHER -LRB- disgusted by what he's heard. -RRB- So Ambrose has Bellerophon and McCloy's got Chimera. BILLY There guys are walking around with different halves of the same dollar bill? ETHAN Ambrose got Bellerophon from Nekhorvich on the plane, but he did n't get the Chimera virus. LUTHER Yeah. Why else would he come back to Australia? If he had them both, he could sell them anywhere. ETHAN I kill Chimera at Biocyte and he's sitting on a cure without a disease. LUTHER You've got the voice print, I'll get us in.", "EXT. - AMBROSE HOUSE (NIGHT) Ethan enters and tears off his mask, revealing Ambrose filled with implacable rage. He looks up to see Stamp who's been obviously waiting for him. Tearing the voice oscillator. Leaning with both hands on a counter - surveillance monitor table he stares at the floor, his face rictus of hateful intensity. STAMP You were right. Hunt stung McCloy tonight. He knows. They'll be going into Biocyte. Ambrose looks up slowly to Stamp who's been standing by. AMBROSE Good. then we go where he'll be, do n't we? Well done, Hugh. Well done.", "INT. LIMO - EVE CHAUFFEUR'S WINDOW being rapped on by the driver. MCCLOY wakes with a start. The window's lowered - Billy's in livery. BILLY You're home, guv ` ner. Home. It's taking time to register. Then : MCCLOY - where's George. My regular driver. Where is he? BILLY Took ill, guv'. Touch of the flu. They say it's going around. Nasty business. Mind you do n't catch a chill now. Still dazed, McCloy manages to nod and exit the limo. Billy drives off. CLOSE - COMPUTER SCREEN - BIOCYTE BUILDING BLUEPRINTS -LRB- INT. SHEEP FARM SAFEHOUSE -RRB- including all specifications. ETHAN Luther, do you have the building up and running? Luther punches in and up comes a squat little island a hundred yards off shore, connected to the mainland by a wooden bridge. ETHAN -LRB- cont'd. -RRB- That's not exactly it. LUTHER Sorry, that it a Biocyte facility, their storage structure. ETHAN Nyah still on the property? BILLY She has n't left it. Then : LUTHER Okay, here you go - As Luther speaks, the building - on his computer graphics, one with the BIOCYTE PHARMACEUTICALS ELEVATORS AND RENDERINGS, is being rapidly morphed to three dimension existence off the rendering specifications by Luther, as if the building itself were being constructed at a madly rapid pace, from its foundation to its reinforced steel structure, to its honeycombing of floors, to its outer skin. Luther's reconstitution of the building lot static, but moving around and above it even as he proceeds. ETHAN Let's start from the inside out. LUTHER All storage and production of Chimera is done here, in this lab on the forty - second floor, the heart of the building. BIOCYTE LAB Only about eight personnel - chemists in lab coats, workers in bio - containment suits, etc.. - populate the lab, passing through security door and air locks, monitoring the virus stock, pading the injection gun, etc.. LUTHER'S VOICE Chimera itself is kept in two places : in production vials in an incubation room and housed in a small airtight chamber - inside three injection guns. BILLY'S VOICE Mate, you kill it in both places, we're laughin' and we go home. WITH LUTHER AND ETHAN ETHAN Now how to get in there. LUTHER No garage entrance. Lobby's protected by five guards on rotating patrol. Ethan watches the rendition of the Biocyte lobby on screen CLOSE - AMBROSE -LRB- NIGHT -RRB- in overhead light, his eyes are dark pits, somehow underlying her saturnine intensity : AMBROSE If you look at Hunt's operational history, he invariably favors misdirection and deception. For a start he wo n't go into Biocyte from the ground where he has to risk confrontation with security. ETHAN Not going in from the ground. Show me the atrium.", "INT. - BIOCYTE ATRIUM SHAFT The height and extent of the atrium are revealed, as well as its conclusion in a glass floor in the ceiling of the lab. LUTHER'S VOICE -LRB- unhappily. -RRB- The atrium? One of a kind. Runs down the center of the building. Provides 24 - hour natural light via mirrors and daylight storage cells. Optimal growing conditions for the virus. Ends in a glass floor which doubles as part of the lab's ceiling. WITH LUTHER AND ETHAN Luther sees the glint growing in Ethan's eye. LUTHER Hey, atrium roof closes at sundown.", "EXT. - BIOCYTE ATRIUM SHAFT As the sun sets, the louvers of the atrium roof begin closing. LUTHER'S VOICE And if the louvers are open for more than thirty seconds at night, the Civil Emergency alarms are tipped. Those even I ca n't stop. Thirty seconds total to get you in and the cable out. ETHAN Security? LUTHER Thirty - second opening in the roof and a 250 - foot drop. ETHAN I'm not waiting 48 hours. When we're done at Biocyte, if she's not out of Ambrose's, I'm going in and getting her out. CLOSE - AMBROSE -LRB- NIGHT -RRB- AMBROSE No, Hunt will prefer to engage in some sort of acrobatic insanity to enter Biocyte somewhere through the atrium where security is minimal. Suddenly there's the roar of helicopter rotors.", "EXT. SYDNEY - NIGHT ETHAN is poised, upside down, on cable against the Sydney skyline. THE ATRIUM LOUVERS begin to open.", "INT. VAN WITH LUTHER hurriedly working the atrium's controls, hitting ` ENTER', repeatedly.", "INT. - COPTER (HOVERING) BILLY Package away in five. four. three. two. one. LUTHER I'm not ready! ETHAN I'm gone. Ethan plummets towards the atrium.", "INT. VAN - NIGHT WITH LUTHER LUTHER -LRB- frantically working controls. -RRB- C'mon! C'mon! C'mon! ETHAN'S DESCENT is so swift it appears as though he's going to hit the atrium louvers but as he reaches roof level they crack open just enough for him to dart thru like thread thru a needle Luther begins the countdown. His countdown continues, running under the action and dialogue below. LUTHER'S VOICE nineteen. eighteen. seventeen. ETHAN IN MID - DESCENT -LRB- MOVING -RRB- moves down the shaft of bluish light, past the building's walls. LUTHER'S VOICE -LRB- low. -RRB-. sixteen. fifteen. Ethan streaks thru the beams of light toward the atrium floor.", "INT. - ATRIUM FLOOR - ETHAN reaches the end of the cord, slows himself to a stop and sees the security guard through the window. The guard starts as he catches a glimpse of Ethan's reflection in the control panels. ETHAN Luther, I'm looking at security. CLOSE - LUTHER LUTHER -LRB- utterly shocked. -RRB- Oh. Uh. Commencing diversion. -LRB- sotto voce, typing swiftly. -RRB- Alarm in cosmetics.", "INT. - ATRIUM FLOOR Ethan swings himself up to the ledge above the guard's window, putting himself out of the puzzled guard's sight. LUTHER'S VOICE Got ta get that cable out. Ethan unhooks the cord and flips to the atrium floor. An alarm goes off. LUTHER'S VOICE -LRB- cont'd. -RRB- There it goes. Still confused and concerned, the guard does n't immediately react to the alarm or the ringing phone. He finally answers the phone. GUARD #2'S VOICE -LRB- on phone. -RRB- AY! what's the matter with you? Ca n't you hear the alarm's gone off in cosmetics? The first guard gives up what's confused him. GUARD -LRB- sarcastic. -RRB- Right. Then I guess I'll have to trot off to see who's pinching eyeliner, wo n't I. -LRB- exits, grumbling. -RRB- I'll even check the stairwell on the way. UP ANGLE - CABLE being swiftly retracted toward the atrium's opening as it closes. BILLY Retracting cable. LUTHER'S VOICE -LRB- low. -RRB- Three. two. one. UP ANGLE - ATRIUM The cable just makes it thru the atrium as the louvers close. BILLY'S VOICE Cable's clear.", "INT. - ATRIUM FLOOR - ETHAN reaches down and presses a silent beeper.", "INT. VAN WITH LUTHER sees a little red diamond - shaped light pop on his screen LUTHER Transponder activated. Reading package and Cable is clean. -LRB- exhaling, relieved. -RRB- He's on his way. Staring at the buildings control panels.", "INT. ATRIUM ETHAN hugs the floor just out of sight of the befuddled security guard. AMBROSE'S VOICE He'll make the attempt at the only possible time for both of us, 11 P.M. - when the guards rotate and the buildings air - filtration generators go active, covering the sound of his break - in. WITH LUTHER LUTHER Ethan, the generators are about to go active. We'll be out of contact for eleven minutes. CLOSE - GENERATORS dark and silent. GENERATORS turn over and roar to life. ETHAN AT BOTTOM OF ATRIUM cuts into the glass floor, pops it out, and drops thru the opening. None of it's heard under the generators. Ethan drops onto the lab floor and heads across the lab and up the ramp to the hot zone. AMBROSE'S VOICE The frequency of the generators operate to our advantage - cutting radio communication from his team for the next eleven minutes.", "INT. - BIOCYTE LOBBY (NIGHT) Stamp, flanked by several of his team in Biocyte security guard uniform, crosses the lobby toward a pair of actual Biocyte security guards who appear more puzzled than alarmed at this unexpected influx. ONE OF THE GUARDS What's this, then? Reinforcements? STAMP Not exactly, mate.", "INT. CONSTRUCTION VAN - NIGHT WITH LUTHER His attention in drawn to a spot on the grid where Nyah's transponder blip, a circular yellow one in contrast to Ethan's, is moving. Troubled : LUTHER Billy. I think we got a problem. Nyah's on the wing. Up early. Billy, do you copy?", "INT. - CHOPPER BILLY Exactly where is she? LUTHER in the building. BILLY'S VOICE Say again. Sounds like you're saying ` she's in the building.' LUTHER I am. She is. AMBROSE'S VOICE Ethan does it the hard way to avoid confrontation. Neutralizing security guards is simply too distasteful to him.", "INT. - BIOCYTE LOBBY The two guards who had greeted Stamp and his arriving team lie inert on the lobby floor. AMBROSE'S VOICE I've never found that a problem.", "INT. HELICOPTER - NIGHT WITH BILLY Billy's so surprised he momentarily gets loose with the copter and it banks off. As it and he recover : BILLY Right. Well, then. She's not likely to be alone. is she? LUTHER'S VOICE The question Is ` how many of'em?' I ca n't get thru to Ethan. Not'til the generators go off. BILLY When's that? LUTHER'S VOICE Not for another eight and a half minutes. WITH LUTHER staring at the red and yellow blips in vertical alignment, the Yellow one, Nyah, considerably below the red one, Ethan.", "INT. - HOT ZONE ENTRANCE (NIGHT) The door reads. DANGER : LIVE VIRUS : INCUBATION ZONE. EXPOSURE IS FATAL. Ethan pulls on a protective mask from his pack and puts a miniaturized recorder up to the voice print activator : MCCLOY'S VOICE John C. McCloy. Ethan's buzzed into the hot zone. He steps into the air locks.", "INT. - SHEEP FARM IMF SAFEHOUSE A small bomb is placed by the dark gloves of someone unseen.", "EXT. - CONSTRUCTION VAN - NIGHT a shadow falls across the dirt in front of the bumper. A SMALL OBJECT with a digital clock face, its red LED illuminating descending numbers, is carefully placed inside the bumper. The magnet on it does n't quite catch. It's then placed more carefully.", "INT. - CONSTRUCTION VAN Luther does n't pick up on the faint metallic sound just outside. He's concentrating on the flashes on the screen showing the transponder rising in the building. Increasingly desperate : LUTHER It looks like Nyah's headed toward an elevator. ETHAN working meticulously an a computer monitor. DOWN ANGLE - ELEVATOR DOORS and a security guard's body lying in the corridor. A pair of trousered legs step over the body and into the elevator joining Nyah's legs and feet, and other pairs of trousered legs. The elevator doors close. AMBROSE'S VOICE If Hunt actually manages to squeak thru the atrium he's liable to make it to Chimera before we will. CLOSE LUTHER On his computer screen the yellow dot continues its ascent, the two dots growing ever closer. LUTHER She's in the elevator heading toward Ethan. BILLY'S VOICE How much longer before you can reach him? LUTHER Five and a half minutes. -LRB- looking at his chronometer. -RRB- He's breached the hot zone. AMBROSE'S VOICE On the other hand we know where Hunt will be and he does n't know we're coming.", "INT. - INCUBATION ZONE In front of each of three large television monitors is a vial shaped roughly like a sealed beaker somewhere between one and two liters in size. Each one is contained behind Plexiglas and each one pale yellow, one sunset red. Behind them are monitors marked, respectively : WORKING SEED STOCK, MASTER SEED STOCK, IN VITRO VIRUS. Behind these is a monitor screen with a blow - up of the contents of the vials & the magnitude of the blow - up - 950,000 x. These are X - Ray microscope blow - ups, i.e., allowing the viewer to see the motility of the virus and its metabolism, not dissimilar to an MRI this of Chimera in its three different cultures. Ethan's on the computer controls, racing thru to WORKING SEED STOCK, which calls for optimal levels of 6.9 pH and 11 degrees Celsius. He drops the pH to zero and punches up the temperature to a hundred. The effect on the greenish hue in the bottle is subtle but immediate - not so subtle is the effect on the virus seeds viewed microscopically - they immediately appear agitated, their microscopic DNA innards contracting and expanding. Ethan moves on to the Master Seed Stock and the In Vitro Virus panels on the computer. The changes he makes are reflected on the digital monitoring panels before each viral container. THE WORKING SEED vial has begun to change colors from sea green to a paler pea - green. The liquid itself begins to thicken : COMPUTER VOICE -LRB- female. -RRB- Alert. Chimera - working - seed - stock - pH - and - temperature - level - outside - optimal range. As the liquid grows more viscous the X - Ray have a progressively more difficult time penetrating the individual cells, resulting in a low humming sound which grows as the liquid gels. ETHAN at the control panels for maintaining the virus. ANOTHER COMPUTER VOICE Alert. Chimera - master - seed - stock - pH - and - temperature - level - outside - optimal range. FIRST COMPUTER VOICE Alert. Chimera - working - seed - stock - pH - at - unacceptable - level. THIRD COMPUTER VOICE Alert. Chimera - in - vitro - pH - and - temperature - level - outside - optimal range. FIRST COMPUTER VOICE Alert. Chimera - working - seed - stock - pH - at - critical - level. Alert. Stock - life threatened. Alert. The X - Ray microscope shows the individual seed - cells sticking together, some exploding, then all movement ceasing. The Liquid itself is suddenly shod thru fluorescent sparks before it congeals to an opaque mush. FIRST COMPUTER VOICE -LRB- cont'd. -RRB- Alert. Chimera stock life. terminated. Simultaneously with the seed stock, Ethan's damaging both the working seed in - vitro virus. WIDE ANGLE - HOT ZONE Ethan places a little plastique on a timer and runs up a ramp to the decontaminant air lock at the back entrance to the hot zone. BILLY'S VOICE How're we doin', then? LUTHER He should've have killed the virus in the incubation area. Nyah's exited the elevator on the same level as the lab. BILLY'S VOICE What can we do' mate? LUTHER -LRB- staring at them. -RRB- Hope he kills all the bugs before the yellow dot gets to the red one. CLOSE - LUTHER'S SCREEN The read and yellow blips are now on the same plane. The yellow dot moves toward the red one as if drawn by a slow motion magnet. DOWN ANGLE - ETHAN looking up as his entire body is hit with air like he's a wind tunnel. When the air flow ceases, a green light goes on. COMPUTER VOICE Subject is contaminate free. Zero contaminate factor. Subject contaminate free. ETHAN - GLASS OBSERVATION ROOM heads up a ramp to the three injection guns. Hands in gloves he reaches into the chamber for one of the injection guns. LUTHER'S VOICE He's still got three injection guns in the test lab. They're loaded with doses of Chimera which he'll destroy by firing into a hyper - thermal chamber. He places the barrel of the gun, seals the chamber, and fires. There's a tiny flash of light. Ethan withdraws the gun.", "INT. - CONSTRUCTION VAN Luther's sweating it as the clock counts down : :30, :29, :28. LUTHER - twenty - seven, twenty - six, twenty - five, come on, Ethan we're almost there! I - I'm off sensitive for this. In a spasm of anxiety Luther bolts to his feet, wipes his brow. LUTHER -LRB- cont'd. -RRB- - eighteen seconds, the generators'll be off and Ethan's back on line. Luther glances thru the van window only to see reflected in the van side mirror :", "EXT. CONSTRUCTION VAN MIRROR REFLECTION - CHROME BUMPER reflected in it is the face of a digital clock, its red LED illuminating the clock's numbers fourteen - thirteen - twelve - WITH LUTHER LUTHER -LRB- realizing what he's in for. -RRB- Oh - oh - oh - Even as he moans he's frantically ripping out the computer and cords dangling, hotfoots toward the van exit.", "INT. - HOT ZONE - GLASS OBSERVATION ROOM Ethan fires the second injection gun. Picks up the third and last. He pauses as he's about to fire it, staring intently suddenly the gun is held by : NEKHORVICH who turns the barrel from the hyper - thermal chamber and releases into his wrist. BACK TO ETHAN - GLASS OBSERVATION ROOM whose vision of of Nekhorvich fades. Still thinking of Nekhorvich he continues to stare at the gun for another moment and before he can fire :", "INT. - SHEEP FARM IMF SAFEHOUSE The bomb's LED readout shows 6, 5, 4, 3, 2, 1. As it reaches 0 a small light on the bomb suddenly stops its incessant blinking.", "EXT. - VAN explodes. Saw horses and dirt fly.", "INT. - GLASS OBSERVATION ROOM - ETHAN looks up just in time to see Ambrose and team arrive at the far end of the lab. They immediately open fire, shattering the room's walls and the glass injection gun chamber. As the injection gun begins falling to the lab floor below, one of Ambrose's team runs to grab it, but before he can reach it he is shot by Ethan, who's falling to the floor below. AMBROSE -LRB- to Ulrich. -RRB- Get it. As Ethan hits and dives for cover, Ulrich goes for the gun Ethan shoots Ulrich in the leg. Ulrich hops back in pain. AMBROSE Those were two explosions, your van and your safehouse, in case you did n't hear them both - I believe that means you've also lost a friend. Ethan's crouching on the ground protected behind a series of vertical metal sheets. ETHAN And you could n't walk to tell me about it. Ethan moves to pick up the injection gun which lies in the shattered glass on the floor. Ambrose, Wallis, and a couple of other Ambrose team members fire, kicking up broken glass. Ethan backs off. AMBROSE -LRB- yelling. -RRB- Hold your fire, dammit! The two spot one another in a mirror on the far wall of the hot zone. AMBROSE -LRB- cont'd. -RRB- Well, Hunt. How've you been? ETHAN -LRB- smiling. -RRB- Fight a bit of a cold. AMBROSE And you're happy about that? ETHAN Beats fighting the flu, I'm here to tell you. AMBROSE You know, that was the hardest part of having to portray you. Grinning like an idiot every fifteen minutes. ETHAN I would've thought the hardest part was exercising restraint. Curbing that pressing need of your to get your gun off. You were in such a hurry to knock off that 747, you never figured out where the virus really was. AMBROSE I knew where it was. ETHAN Oh. then you knew the only way could smuggle the live virus to the CDC scientists in Atlanta was by injecting himself and using his own bloodstream as a Petri dish, doing it inside of twenty hours so he could take the anti - virus and still have it be effective. You knew that while you were knocking him off and destroying the very thing you came for. Ethan has been using this exchange to ease a fresh seventeen round clip into his weapon and he punctuates this last with a spray of gunfire, attempting to cover his own effort to the reach the injection gun. The return fire nearly hits the injection gun, kicking up glass and dust and making it move around on the floor. AMBROSE Stop! Put a sock in it! Hit that bloody gun and you'll spray the bloody virus all over the place! Everybody's regained cover but the injection gun remains out of everybody's reach. ETHAN There it is, guys, the last of it. AMBROSE Yep. You've provided us with a golden opportunity to have both the bug and the bug killer. ETHAN What was the top bid? AMBROSE Why, you going to make me a better offer? ETHAN Than thirty - seven million pounds? Not really. AMBROSE -LRB- not amused. -RRB- Somebody's been slipping you our mail. Come on out here, you bad girl. Nyah walks out into view on her own. Ethan sees her reflection in the mirror. Enraged, but trying to control it. ETHAN She does n't belong here, Sean. Let her go. AMBROSE She would n't be here if it was n't for you, Hunt. from this moment you're responsible for what happens to her, and if you're looking out for her well - being, I suggest you advise her to pick up the gun and bring it to me. Ball's in your court, Hunt. What've you got to say? Nyah's waiting for your answer. A pregnant pause. LUTHER'S VOICE -LRB- breaking through the static. -RRB- Ethan, Nyah's in the building! Do you copy?", "EXT. BIOCYTE WITH LUTHER a mess amid the rubble of the construction van. ETHAN ETHAN -LRB- dryly. -RRB- Thank you. ETHAN -LRB- cont'd. -RRB- Sure he wo n't shoot you the minute he's got it? AMBROSE Oh, Hunt, please! One ca n't hold Nyah responsible for her actions. ETHAN In other words, you're calling her a flake. CLOSE - NYAH listening. AMBROSE You know women, mate. Like monkeys, they are. Wo n't let go of one branch til they've got a grip on the next. get it, Nyah. I'll cover you. Ambrose cocks his weapon. AMBROSE -LRB- cont'd. -RRB- I'm waiting. NYAH -LRB- not much more than body length from Ethan. -RRB- This is n't exactly working out the way you thought it would, Ethan. Sorry. Finger on the injection trigger, she rises and turns the barrel on her arm, firing. The sound of the air pressure pushing the virus into her is unmistakable, as is the circle of tiny puncture wounds on her skin. Nyah moves in front of Ethan, covering him, as she turns to face Ambrose. ETHAN shocked by Nyah's gesture but as she addresses Ambrose he resets the ` Countdown' on his chronometer to twenty hours. As it drops into the nineteen : AMBROSE -LRB- frustrated in the extreme. -RRB- You. bitch! She's been laughing away with Ethan : NYAH You're not going to shoot, Sean. Not this bitch. She's worth thirty - seven million pounds. CLOSE - ETHAN'S HANDS fingers press a red button on a tiny detonator. There's a bright heat flash from the hot zone and an explosion of gas and water - the plastique killing any airborne virus. Ethan uses the diversion to grab Nyah and run with her to the far side of the lab, behind a stock of horizontal cylinders.", "INT. - LAB Ambrose and team recover from the explosion and begin firing on the tanks protecting Ethan and Nyah, surrounding the two with fire and jets of released steam.", "INT. - LAB - ETHAN AND NYAH behind the stack of tanks. Ethan launches an explosive down a short hallway, blowing a hole in the building's exterior wall.", "INT. - ENTRANCES TO THE LAB A group of Biocyte security guards enter from behind Ambrose and team and catch them off - guard. All hell breaks loose.", "INT. - LAB - ETHAN AND NYAH ETHAN -LRB- outraged. -RRB- What did you think you were doing! NYAH I was n't thinking! Just. trying to keep you from getting hurt, that's all. This hits Ethan with the force of a blow. ETHAN - you who do n't have a conscience. NYAH -LRB- something of surprise to her. -RRB- I guess I lied. You ca n't get both of us out of here, can you? ETHAN No. NYAH Then you'll have to kill me before it's too late. Before I start killing people. ETHAN No. NYAH I'm infected with Chimera. You know you do n't have a choice. Just do it now. She puts Ethan's gun to her forehead. NYAH -LRB- cont'd. -RRB- For god's sake, get it over with. THE HAMMER pulls back. CLOSE - ETHAN He ca n't fire, lower the hammer. ETHAN We've got 19 hours and 57 minutes before you start killing anybody. I'll get Bellerophon into your system by then. Just stay alive. I'm not gon na lose you. Ethan runs from the cover of the tanks toward the exploded wall once in the open, he exchanges direct gunfire with Ambrose's team, wounding a couple men. He reaches the wall and dives thru, camera with him as he drops 25 stories, the sound of gunfire in the air all around him. Less than a hundred feet from the ground a small dark chute deploys and Ethan is lost from view beneath it.", "INT. CULTURAL ARTIFACT CENTER PANNING SHOT - PAINTINGS of Aborigine paintings, eerie patterns made of man and nature phantasmagorical, like the patterns that form under the eyelids shortly before sleep. B.G. the haunting notes of didgeridoo insure they're not being overheard. SWANBECK -LRB- reading the paintings titles. -RRB- ` Dreaming of Birds and Flying Fox,' ` Bushfire Dreaming,' ` Wind Dreaming,' - oddly appropriate - Swanbeck breaks off and turns to a somewhat battered and battle weary Ethan : SWANBECK -LRB- cont'd. -RRB- - since it appears that Chimera, the mother of all nightmares is on the loose somewhere around here - is there any way this disaster can be viewed as a qualified one? ETHAN -LRB- tight - lipped. -RRB- Not yet. We did manage to pull any sensitive equipment and material out of our safehouse wreckage. SWANBECK We could lock down passport control and all ports of authority, but that wo n't stop Ambrose, and beyond him, we do n't know who else we're looking for - all terrorist bank accounts of which we're aware are stable. No deposits, no withdrawals. Therefore no suspects. ETHAN We think we've got our finger on the buyer. SWANBECK Do you? Even assuming you're able to prevent Ambrose selling Chimera, you've now got an additional problem. You destroyed all of Chimera at Biocyte. If Ambrose is going to sell Chimera now, he'll have to do it by taking a pint or so of Miss Hall's blood to market. ETHAN Yes, I believe that's right. SWANBECK But that leaves another seven or eight pints of Chimera. ETHAN You mean that leaves Miss Hall. SWANBECK Yes, I believe that's right. Now my understanding is that 20 hours after exposure, the victim becomes infectious. Highly infectious. Ethan glances at his chronometer. Swanbeck sees it. SWANBECK -LRB- CONT'D. -RRB- You noted the time of exposure? Ethan nods. SWANBECK -LRB- CONT'D. -RRB- - good. Then if you manage to get hold of Ambrose, and obtain what he's got, you've got -. -LRB- glancing at the chronometer. -RRB- - 8 hours 57 minutes and twenty - three seconds to destroy the largest remaining source of Chimera on earth. ETHAN She sacrificed herself. SWANBECK Brave girl. If you can get hold of Bellerophon with the time limit, you may spare her the ultimate sacrifice. But in either case you've got less than nine hours to kill her or cure her. After that it's out of our hands and a matter of worldwide material law. And Hunt. However you obtain it, we want you to preserve a sample of Chimera. Bring it back alive. Ethan's staring at Swanbeck. SWANBECK -LRB- CONT'D. -RRB- Something else? ETHAN Are n't you even curious? About why she did it? SWANBECK No. I ca n't afford to be curious. And neither can you, Hunt. As the eerie wail of the didgeridoo seems to mount in volume and intensity, the overcast sky filtering into the loft seems particularly oppressive. Ethan's up against it and he knows it. A VIEW OF SYDNEY from harbors to skyline in all its sunlight splendor. Nyah sits for a moment, looking steadily at Ambrose. Ambrose pats the cannister he's carrying. AMBROSE Feel like pleading for your life? NYAH -LRB- with an edge. -RRB- Not as much as you feel like hearing it. Ambrose slaps her. With scarcely a flicker of hesitation she slaps him back. AMBROSE God damn it, Nyah! Why did you do it? Why did you save that bastard? NYAH If it'll make you feel any better I wo n't do it again. It does n't. Full of pain and rage, he gets out of the car. AMBROSE If it'll make you feel any better, you're going to take a lot of Aussies with you and make me a lot of money. NYAH What are you talking about? AMBROSE In just a few hours you can be assured of going down in history as the typhoid Mary of Oz. G'day. A nameless guard from Michael's car idling nearby gets into the back seat with Nyah. Ambrose shuts the car door in Nyah's face, gets in Michael's car takes off.", "EXT./INT. - IMF HELICOPTER - BLUFF ETHAN Luther? Luther. Luther drops a tiny part into his computer board and, as he tries to fish it out with the aid of a magnifying glass : LUTHER Ethan, I keep telling you there's not a chance of locating Nyah til I access the satellite and there's not a chance of doing that til I get this thing booted up and running! How much time does she have left? ETHAN Ninety - seven minutes, twenty - seven seconds. BILLY Before we kill her or cure her. LUTHER Right. ETHAN Wrong. All we've got to worry about is Ambrose. Nyah will take care of Nyah. BILLY What are you talking about? ETHAN Unless we dose her with Bellerophon on the next ninety - seven minutes, Nyah will kill herself. So, first things, first. Swanbeck said there's no cash movement from any monitored terrorist accounts.", "EXT. - BEAR ISLAND CAR PARK McCloy's black limousine is in the car park. ETHAN'S VOICE Confirms what Ambrose is gon na do -", "INT. - TUNNEL - BEAR ISLAND Barrels of toxic materials line the walls, as an armed guard patrols the corridor, leading into the main chamber, where we follow McCloy into", "INT. - SLABHOUSE McCloy enters and begins pacing. ETHAN'S VOICE -LRB- CONT'D. -RRB- - who he's doing it with, and where he's gon na do it.", "EXT. - MOTORCYCLE AND LINE OF VEHICLES (DAY) speed along an isolated road in close formation before turning onto a side road, revealed as leading to a bridge across a small strip of water to a small island.", "EXT. - BEAR ISLAND - LANDWARD SIDE (DAY) As the cycles and vehicles cross the bridge and approach the front gate, the camera swings around the side of the island establishing the geography and the six cannon emplacements before coming to a stop on", "EXT. - BEAR ISLAND - SEAWARD CLIFF - ETHAN scaling the seaward side of the island with minimal gear", "EXT./INT. - IMF HELICOPTER - BLUFF resting like a giant locust, half hidden by a cluster of trees on the bluff overlooking Bear Island. Billy's at the controls, with binoculars, maintaining surveillance of the island and environs. In the back, Luther is at Work on his GPS computer. BILLY'S VOICE Ethan's out from under the bridge and on the south - east face.", "EXT. - CLIFF/VIEW OF TUNNEL Ethan climbs the side of the cliff. BILLY'S VOICE Ethan, Ambrose and his tem have over the bridge - ETHAN Copy that. Ethan reaches the clifftop and sees armed guards patrolling. BILLY'S VOICE You all right, mate? From here it looks like very security. What's it look like like from there? ETHAN Risky. He's over the top and moves swiftly to cover. Ethan surprises and kills a perimeter guard, then runs to a length of grating and lifts one of the panels. Ethan climbs down through the grating in the roof of the tunnel. Using a bar to swing down, he breaks a second guard's neck and drops to the floor.", "EXT. - BEAR ISLAND - ENTRANCE (DAY) Ambrose and team drive through the entry gate - passing its BIOCYTE PHARMACEUTICALS sign and various no - nonsense warnings of ` No Trespassing,' etc.. - before Biocyte security guards close it behind them.", "INT. - TUNNEL - NEAR THE GRATING ETHAN Breached the structure at the ten o'clock grating. In the tunnel moving toward the target. Ethan begins heading down the tunnel.", "INT. - SLABHOUSE BUILDING Ambrose and team enter, where McCloy and his CHEMIST and ACCOUNTANT are waiting. As Stamp stands back, observing, and Wallis sets up a laptop, Ambrose walks up to a refectory - like table and stands opposite McCloy. Ambrose reaches into his coat and puts two cannisters on the table in front of McCloy. McCloy's chemist picks up the cannisters and inserts them into two chambers connected to his microscope. CHEMIST It's a DNA match. The blood's loaded with Chimera. An insert of the microscope plate shows the two samples, as Bellerophen destroys Chimera. The chemist presses a button on the chamber and there's a heat flash. The chamber red light moves to green, and there's a mechanical voice : ` Substance destroyed.' CHEMIST -LRB- cont'd. -RRB- And they certainly have Bellerophen. The Kev cannister is out on the table. MCCLOY Well, then. You've got both the virus and the anti - virus, Chimera and Bellerophen. Which means I've thirty million for you Ambrose does n't respond. MCCLOY -LRB- cont'd. -RRB- That's all the cash I can come up with AMBROSE Not exactly. Wallis? WALLIS -LRB- off Biocyte figures on laptop. -RRB- More like two - two point two million. AMBROSE In any case we do n't want your cash. MCCLOY Then what do you want? Ambrose picks up a mobile phone and dials. AMBROSE Stock, Mr. McCloy. Stock options, to be a little more precise. -LRB- into the phone. -RRB- - cut her loose. right in the center of town. the more crowded the better. -LRB- punching off, to McCloy. -RRB- How quickly can you manufacture more of the antivirus.", "INT. - TUNNEL - CAVITY IN THE WALL As he moves along the tunnel, Ethan suddenly flattens himself against a wall as he receives a transmission from Luther. LUTHER'S VOICE Ethan, just picked up an Ambrose call - Nyah's been dropped off. I think she's alive. ETHAN Where is she?", "EXT. - HELICOPTER - BLUFF LUTHER Somewhere in Sydney.", "INT. - TUNNEL - CAVITY IN THE WALL Ethan hears something and ducks into a nearby cavity in the tunnel wall. As a guard approaches, Ethan steps out of the cavity and knocks the guard out, then throws him into the opposite wall. LUTHER'S VOICE Ethan? Do you copy? ETHAN'S VOICE ` Somewhere in Sydney?' Care to harden the target? LUTHER'S VOICE Ca n't. Until I can get the GPS up on our computer. it's still down. ETHAN The clock is ticking. Back to the matter at hand, Ethan completes the move on the guard and knocks him out.", "INT. - SLABHOUSE MCCLOY Bellerophen? No time at all once I've got it. AMBROSE Good. Biocyte stock is just a week or two away from going through the roof. MCCLOY -LRB- alarmed. -RRB- What are you talking about? AMBROSE An outbreak of Chimera. MCCLOY Where? AMBROSE In downtown Sydney for a start. McCloy is stunned. AMBROSE -LRB- cont'd. -RRB- You create the supply, Mr. McCloy, we've just created the demand. Three million people in Sydney and 17 million people in Australia are going to need Bellerophen within a matter of days. not to mention the rest of the world.", "INT. - TUNNEL - OPEN AREA - ETHAN'S FEET stealthily approach a couple dozen jittery pigeons, cooing and pecking. The intensity of their noise - making increases as Ethan reaches them.", "INT. - TUNNEL - OUTSIDE OF THE SLABHOUSE ROOM DOORS Hearing the disruption of the pigeons, one of Ambrose's guards leaves his post at the double doors and head the tunnel toward the birds to investigate.", "INT. - TUNNEL - OPEN AREA Ambrose's guard draws his gun and continues approaching the pigeons. Before the guard can see him, Ethan runs forward, and sends the pigeons into scattered flight, blinding the guard. Ethan jumps into a back flip and double kicks - first knocking away the guard's gun and then knocking him out and flat on his back. Ethan continues his flip and lands right back on his feet.", "INT. - SLABHOUSE AMBROSE - now here's the way it's going to work. Wallis, the shares outstanding are. WALLIS Ninety - three point four million. AMBROSE Which means, Mr. McCloy, we have to get our hands on four hundred and eighty thousand options. We'll borrow your thirty million to buy those options. Your stock's never sold above thirty - one dollars a share. We'll agree to buy at fifty. AMBROSE -LRB- cont'd. -RRB- When your stock goes north of two hundred, and it will, those options will be worth billions. We can borrow whatever we need to buy the 48,000,000 shares, fifty - one percent of Biocyte. MCCLOY Outrageous. I wo n't let you take control of my company. AMBROSE Sit down. You'll be a billionaire. Better than being broke. I've got terrorists and other pharmaceutical companies standing in line. Ball's in your court, Mr. McCloy.", "INT. - TUNNEL - OUTSIDE THE SLABHOUSE ROOM DOORS Ethan pulls a can of explosive material form his pack. He rolls it towards the double doors, and it stops just before reaching them. Then, pointing his gun to the ceiling, he fires into the air.", "INT. - SLABHOUSE ROOM - AMBROSE hears a noise and looks to Stamp, who heard it as well. Stamp nods to two guards to check it out. They head across the room to the double doors.", "INT. - TUNNEL - OUTSIDE THE SLABHOUSE ROOM DOORS - ETHAN waits for the right moment before raising his and firing at the can of explosives. Just as it ignites, the guards open the doors and are blown back by force of the explosion.", "INT. - SLABHOUSE ROOM - AMBROSE reacts and turns toward the explosion. Amidst the flames and debris, a single white dove comes flying into the room. And beyond it, Ambrose can see Ethan Hunt in silhouette walking slowly past the doorway. AMBROSE Run that bastard down. Orders are shouted, and guards, along with Stamp, hotfoot it down the tunnel - corridor in the direction of the explosion.", "INT. - TUNNEL - STAMP AND GUARDS run down the tunnel. The guards move commando - style, directed by Stamp's hand signals.", "INT. - SLABHOUSE - MCCLOY AND AMBROSE Ambrose loads his gun and drags the tip of the barrel along the table. AMBROSE We're running short on time, Mr. McCloy. We've got to conclude our business. McCloy pauses only a moment before nodding to his accountant. MCCLOY Yes, start the transfer. The accountant begins working on his laptop. AMBROSE -LRB- to Wallis. -RRB- Follow it. Let me know.", "INT. - TUNNEL - STAMP AND GUARDS pass a couple of doorways. A pigeon flies past Stamp's face and he stops. As he turn, Ethan Lowers himself from a hiding place in the ceiling. Stamp and Ethan pull their guns on one another. They're in a face - off until they both agree to drop their guns, but Stamp catches his in mid - air and points it back at Ethan. ETHAN You broke our deal. STAMP You're too trusting. Raise your hands slowly. As Ethan raises his hands, he pulls the pin on a grenade and then kicks it between Stamp's legs. The handle flies off : It's live. When Stamp looks down in surprise at the grenade, Ethan kicks out his gun. Trying to escape the grenade, Stamp smashes into Ethan and seems to have hit him in the jaw. Both hit the ground as the grenade explodes, with Stamp appearing to have the upper hand.", "INT. - SLABHOUSE As everyone waits for the transfer to complete, the grenade explodes out in the tunnel. McCloy and his accountant freeze with alarm as a sprinkling of dust settles on the room. AMBROSE -LRB- to the accountant. -RRB- Keep it going. STAMP'S VOICE Sean, this rat's reached the end of the maze. AMBROSE -LRB- into walkie - talkie. -RRB- Is he alive? STAMP'S VOICE More or less. AMBROSE Bring him to me.", "INT. - HELICOPTER - BILLY AND LUTHER Luther has the GPS computer starting to access the satellite. BILLY -LRB- nervously. -RRB- We're due to take off. LUTHER Not for seven more minutes.", "INT. - SLABHOUSE - WALLIS checking his computer screen, which shows the transfer has finished successfully. WALLIS Sean. Transfer complete. Stamp drags Ethan in, arms pinned with heavy tape. Stamp Ethan look grimy as sandbags after a busy day of tunneling. Ambrose rises to examine his prize. MCCLOY -LRB- apprehensive. -RRB- What exactly do you intend to do with him? Ambrose walks behind Ethan and kicks his knees out from under him. Ethan falls to the floor.", "INT. - HELICOPTER - BILLY AND LUTHER LUTHER Ethan? Ethan? Do you copy? Luther hears nothing in response but while noise. He looks to Billy and indicates there's no answer. ETHAN Well, mate, maybe this is one of those times we should n't follow orders.", "EXT. - HELICOPTER (DAY) the rotor blades turn over.", "INT. - SLABHOUSE BUILDING (DAY) AMBROSE -LRB- to Ethan. -RRB- What have you got to say for yourself. Hunt? Any last words? Ethan appears as if he wants to respond, but ca n't. Ambrose kicks him again. AMBROSE -LRB- cont'd. -RRB- Stop mumbling. STAMP Afraid he's got no choice. I believe I broke his jaw. AMBROSE Hugh, I'm impressed. Ambrose has picked up a pair of Berettas, and is proceeding to load both full seventeen round clips. MCCLOY -LRB- anxiety mounting. -RRB- What do you intend to do? Ambrose favors McCloy with a glance of genial exacerbation. AMBROSE You need n't watch. FULL SHOT - HELICOPTER -LRB- DAY -RRB- rising off the golf green, and banking toward the island.", "INT. - SLABHOUSE (DAY) Ambrose standing before Hunt with a pair of fully loaded Berettas. The sound of the helicopter grows. AMBROSE - right. We do n't have a lot of time, Hunt. whatever you've got to say, say it now. Ethan indeed makes some considerable effort to speak but can only manage a few guttural, progressively desperate sounds which continue as : AMBROSE -LRB- cont'd. -RRB- Sorry mate, I ca n't understand a bloody word. How about giving us a big smile to remember you by? -LRB- hearing the helicopter. -RRB- No? Well, then. This is what's known as getting your gun off. With that Ambrose empties thirty four rounds from the two Berettas into Ethan whose body jerks crazily on the floor. McCloy nearly faints, and Ambrose laughs at his squeamishness until something on Ethan's body catches his eye : the top of the little finger on the right hand is bleeding. Ambrose grabs Ethan's face, and rips off a latex mask : revealing Stamp, eyes wide open and thoroughly lifeless. His jaw, under the mask had been taped carefully close with the same heavy tape Ethan has used to mount the drain - pipe shotgun on the tunnel wall. AMBROSE -LRB- cont'd. -RRB- Bloody hell! He looks around, but Stamp is gone. So is the cannister and kevlar vest that had been on the table moments before.", "EXT. - BEAR ISLAND Ethan's on the motorcycle, heading toward the gates, which a pair of security guards are frantically trying to close. Billy and Luther in the copter are over the island, and bank so Luther can fire a grenade launcher and blow the back of Ambrose's boat. The guards close the gate, Ethan runs the motorcycle up the hillock and jumps the gate, over onto the bridge. Ambrose follows in the SUV, crashing thru the gate. They race across the bridge and the road, onto the huge greensward opposite to and similar in shape to Bare Island. There, with the helicopter hovering, Ambrose manages to corner Ethan and after they expend whatever ammunition their weapons hold, they move into each other bare handed and engage in ferocious, no - holds - barred combat, the helicopter hovering low enough to keep away whatever's left of Ambrose's henchmen, the chopper's downdraft hitting them and flattening the grass around them. Ethan prevails. A SPECTACULAR VIEW OF SYDNEY on bluffs overlooking the city. Camera moves slowly to the top of the bluff.", "EXT./INT. - IMF HELICOPTER (DAY) With Billy flying and Luther at the door, machine gun in hand, the copter nears the Bare Island gun pit and Ethan.", "EXT. - BEAR ISLAND GUN PIT - ETHAN runs into the central ` hole' area, guns in both hands and wearing the kevlar vest. He runs toward the walled edge of the enclosure and jumps. As he pulls himself up the top of the wall, he sees the IMF helicopter approaching. A gunman appears from the tunnel entrance and opens fire, the bullets exploding into the wall around Ethan, who jumps out of the way to avoid them.", "EXT./INT. - IMF HELICOPTER is under fire as well, bullets spraying the windshield, driving Luther back inside and causing Billy to turn the chopper around. BILLY Man at your six.", "EXT. - BEAR ISLAND GUN PIT - ETHAN who rolls and returns fire at the gunman. Ethan first hits the gunman in the leg, and then shoots and explodes the canisters behind the gunman, killing him. ETHAN -LRB- to Billy. -RRB- The field of fire is too heavy. Back off and pinpoint their positions. BEAR ISLAND HILL - MOTORCYCLE bearing down on him as he stands up. Ethan just manages to dive out of its path before a second motorcycle comes up over the hill. Ethan flips backwards and fires his pistol, shooting the second cyclist off his bike. The motorcycle flies over Ethan, who runs after it and jumps on, revving the throttle and taking off. BEAR ISLAND - PARKING AREA - AMBROSE deploys some of his men via walkie - talkie while others scramble into their cars. AMBROSE -LRB- into walkie - talkie. -RRB- Hunt's heading for the bridge. Coming in at twelve o'clock high. BEAR ISLAND BRIDGE A Gold Falcon with several of Ambrose's men inside enters the bridge from the mainland and speeds toward the island.", "EXT. - BEAR ISLAND COMPLEX Ambrose's men exit the complex and get into their cars. BEAR ISLAND HILL - ETHAN crests a hill aboard the cycle, the IMF chopper in b.g. ETHAN Clear that bridge for me. LUTHER' VOICE Roger that. BILLY'S VOICE They're tracking you on the left, Ethan. Prepare for some fire. BEAR ISLAND ROADWAY Michael's SUV and Wallis' sedan speed along as a gunman from the SUV fires on Ethan up the hill, spraying bullets around him. BEAR ISLAND BRIDGE - GOLD FALCON approaches the island. Luther fires his grenade launcher. It hits the Falcon's trunk, lifting its back wheel off the ground, but the Falcon keeps coming, its trunk ablaze. Luther reloads as a gunman leans out the window, firing up at Ethan on the hill. BEAR ISLAND HILL - ETHAN lays on the cycle's throttle, accelerates down the hill and propels the bike into the air and off the island, just as", "EXT. - IMF HELICOPTER - LUTHER again fires his grenade launcher, this time at the front of the BEAR ISLAND BRIDGE - GOLD FALCON on the bridge. The grenade explodes at the front of the car and hurls the Falcon into the air and off the bridge. BEAR ISLAND - HILL/BRIDGE - ETHAN is in mid - air on the cycle, heading down toward the bridge. Just as he lands, the Gold Falcon flies off the bridge, and Ethan speeds through the flames and off onto the mainland. BEAR ISLAND - BRIDGE Michael's SUV arrives and tears through the gate and flames, followed by Wallis' sedan and then Ambrose, riding a motorcycle. ROAD LEADING FROM BRIDGE - ETHAN races up the road to find a white Falcon approaching. The IMF chopper arrives and gunfire's exchanged. Luther takes a hit in the shoulder and drops his gun as the chopper banks away.", "INT. - HELICOPTER - LUTHER Luther grips his shoulder in pain and falls back into his seat, jarring the GPS computer. It responds by beeping and coming to life. Nyah's yellow dot pops up on the screen. GPS COMPUTER The target is located. LUTHER Ethan, the computer's up. I've got Nyah. She's moved out of the city. ETHAN Luther, say again. LUTHER She's on the North Head Bluff - approaching the cliffs. One klick away.", "EXT. - ROADWAY - ETHAN ETHAN -LRB- over increasing static. -RRB- Copy. She's only got twenty - eight minutes left. Track ahead and pick her up.", "INT. - IMF HELICOPTER Luther bands his shoulder wound and monitors his GPS laptop. LUTHER We wo n't be able to cover you.", "EXT. - ROADWAY - ETHAN slightly slows the bike to concentrate over the static. ETHAN You're breaking up. Track ahead and pick her up. You've got me on GPS. Bring her to me. Ethan pulls out and throws away the earpiece.", "INT. - IMF HELICOPTER LUTHER Billy, North Head. Haul ass.", "EXT. - ROADWAY Ethan heads downhill as the SUV approaches on an adjacent road. He pulls out in front of it, immediately drawing fire. Without slowing, Ethan drops to the side his cycle for cover.", "INT. - IMF HELICOPTER - LUTHER watches the GPS laptop as the chopper speeds over Sydney.", "EXT. - ROADWAY - ETHAN AND WALLIS' SEDAN Wallis' sedan appears from an adjoining road and pulls in behind Ethan, who climbs back aboard his cycle. Cut off, the SUV turns onto a side road to intercept Ethan. WALLIS Get him. ULRICH I ca n't get a good shot. Before an intersection, Ethan both revs and brakes, spinning the bike and creating a smoke screen. Wallis' car enters the smoke. ULRICH -LRB- cont'd. -RRB- I ca n't see him, mate. Slow down! WALLIS Shut up. I know what I'm doing. Wallis breaks hard, but not hard enough : he stops just in the path of an oncoming 18 - wheeler. His car's demolished.", "EXT. - ROADWAY - ETHAN AND SUV Ethan pulls out of the smoke as the SUV bursts out of the scrub behind him, striking the rear of the cycle. Ethan puts his bike into a spin and pulls his gun, ending up alongside the SUV passenger window. He fires through the window, shooting both Michael and the bodyguard. The SUV veers off, crashing into a line of parked cars. It hits the first car and flips up and over, landing upside down on several more parked cars. Ethan speeds off on his smoking cycle. Ambrose arrives and then takes a side road.", "INT. - IMF HELICOPTER - LUTHER working on his GPS laptop. The range - ie, the distance from the moving copter to the yellow dot, Nyah, on the edge of the screen - is reduced to about two kilometers. LUTHER -LRB- to Billy. -RRB- Range is two kay. BILLY I hope there's a place to land. Luther looks up from the screen to see the bluff of North Head at the entrance to Sydney's harbor.", "EXT. - THREE-LINED ROADWAY - ETHAN tearing down the road, when suddenly from a side trail Ambrose pulls out behind him and begins firing. Ethan weaves to avoid Ambrose's fire and passes a car, pulling in front of it for cover. The car skids, forcing Ambrose to veer around it. FROM COPTER TO GROUND -LRB- MOVING -RRB- rapidly approaching the North Head bluff. BILLY There she is. I got visual. LUTHER We're down to seven minutes 23 seconds. HIGH ANGLE - NORTH HEAD moving up behind Nyah who is walking purposefully to the edge of the bluff and a precipitous drop to rocks and surf a hundred and fifty feet below. Camera drops to Nyah's shoulder level and moves with her to the bluff's edge. As she's just a few steps away from stepping off, there's a roar and the helicopter rises into the shot, before her wild - eyed Billy gesturing, ` Stop! Stop!' to Nyah.", "EXT. - ROADWAY Ethan passes narrowly between a car and oncoming truck. Ambrose follows as soon as the truck clears. Ethan fires backward using his side - view mirror to aim, exploding Ambrose's windscreen. Ambrose skids until his wheel clips a rock, knocking him upright. Ethan turns into a side road and speeds through open scrub. Back on the main road, Ambrose roars off to intercept Ethan.", "EXT. - CLIFFTOP - ROCK LEDGE On a clifftop clearing, Ethan races along as Ambrose moves to cut him off. They head toward one another. LUTHER'S VOICE Ethan, we've got her. Tracking to you now. We're reading 5 minutes 19 seconds.", "EXT. - CLIFFTOP - CLEARING Ethan and Ambrose round a bend and face one another. Without hesitating, they charge towards each other. As they near one another, each leaps forward and off his bike, and they collide hard in mid - air. They fall to the ground fighting as their bikes skid and Ethan's explodes, raining debris upon them. Ethan and Ambrose rush towards one another. Ethan flips Ambrose to the ground. Ambrose pulls a gun from his ankle holster. As Ethan knocks it away, he loses his own gun and they both fall off a 30 - foot cliff.", "INT. - IMF HELICOPTER at top speed over Sydney. Nyah appears weak and shivers. LUTHER -LRB- to Billy. -RRB- Bearing two one zero. About 3 klicks. -LRB- into microphone. -RRB- Ethan, we're moments away.", "EXT. - CLIFFTOP - CLEARING - FIGHT Ethan and Ambrose rise from the fall. Ethan jumps up and sweeps Ambrose, dropping him to the ground. Ethan begins strangling Ambrose but gets knocked off, and when they both stand, Ambrose gets Ethan in a choke hold. Ambrose hits him and grabs a rock and hits Ethan in the midsection and the face. Ethan kicks it out of his hand and connects with several punches, knocking Ambrose to the ground. Kneeling, Ambrose pulls a knife from a boot holster and cuts Ethan across the back and face. Ambrose dives on Ethan and the knife is poised above Ethan's eye before Ethan grabs the knife and clears, holding it out toward Ambrose. AMBROSE Go ahead. Use it Hunt. It's not a bad way to go. A lot better than the way that bitch is going to die. Ambrose swings again and misses, and Ethan delivers a series of kicks, leaving Ambrose stunned and barely standing. Ethan steps back, and with a running start, strikes Ambrose with a leaping kick that drops him to the ground and knock the knife out of his hand.", "EXT./INT. - IMF HELICOPTER - CLIFFTOP As they approach in the distance, Billy, Luther and Nyah finally gain sight of Ethan in hand - to - hand combat.", "EXT. - CLIFFTOP - CLEARING - FIGHT Ethan turns and walks away from Ambrose toward the cliff edge. The copter lands and Luther runs toward Ethan but pulls up, looking over Ethan's shoulder. Ambrose has a gun aimed at Ethan's back. AMBROSE Hunt. You should have killed me. Near Hunt's feet is his own gun, obscured from Ambrose's view by dust from the copter. Ethan tosses the canister to Luther and then kicks his gun up out of the dirt and into the air. He catches it, drops down and fires, killing Ambrose.", "EXT./INT. - HELICOPTER ON CLIFFTOP Ethan reaches Nyah at the copter. Inches apart, they can only stare silently at one another.", "INT. - CULTURAL MUSEUM Didgeridoo music. A child admires a painting. Swanbeck and Ethan face one another. A long, long pause. For a moment it appears as if Swanbeck has lost awareness of Ethan's presence. SWANBECK Sorry, Ethan. I do n't quite know where to begin. Any suggestions? ETHAN You'd like me to conduct my own debriefing. SWANBECK Why not? You've done just about everything else on this operation. ETHAN I'd thank you - but I'm not sure that was a compliment. SWANBECK Of course it was. Anyone whose operations requires the level of disinformation that yours do, is bound to get a little flak here and there. You try flogging the stories on CNN I've had to come up with about what's been going on around here the last few days. At any rate, it's been most instructive - what they'll swallow, or what they'll broadcast with a straight face. -LRB- picking up a file. -RRB- Miss Hall's blood, it appears, has absolutely no elements of the Chimera virus. Not even antibodies. ETHAN Yes, I gathered as much. SWANBECK And the only other remaining sample was in the canister you recover from Ambrose. ETHAN Yes. SWANBECK And that appears to have been destroyed. It also contained the anti - virus, Bellerophon. ETHAN Well, Bellerophon, it turns out, was only really effective against Chimera. SWANBECK But you were under specific instructions to bring back a living sample of the Chimera virus. I'd be very interested to know how, after you'd managed its recovery intact, it subsequently got destroyed. ETHAN By fire. That's the best way, really. SWANBECK So you did n't fail mission, you simply changed it. Ethan does n't respond. SWANBECK -LRB- cont'd. -RRB- It's no longer enough for you to execute and implement IMF policy, you now wish to go in the business of creating it? ETHAN No, I do n't. But in this case - SWANBECK In this case, it was n't a bad idea. In face, it was a pretty damn good idea. Just do n't make a habit of it. And, as for Ms. Hall, in light of her efforts, her criminal records will certainly be expunged. I'm assuming you approve. ETHAN I do. SWANBECK Where is she now, by the way? Do you know? ETHAN I do n't. No exactly. SWANBECK Well, Hunt, what are your plans? ETHAN Not sure. Some sort of vacation. I'll let you know where I'm going. SWANBECK Oh, you do n't have to do that. Would n't be a vacation if you did. Ethan and Swanbeck exchange one final, knowing glance. SKY NEWSCASTER This incident in the wake of rumors suddenly surfacing about Mr. McCloy and Biocyte's financial difficulties - including criminal allegations of insider trading, embezzlement, conspiracy to commit fraud, and stock parking - have, understandably, sent stock prices of the pharmaceutical company plummeting.", "EXT. - SYDNEY (DAY) Ethan emerges to a very crowded street. Billy and Luther are waiting. Both look to Ethan. LUTHER -LRB- worried. -RRB- So what did he say? ETHAN Good job. And thanks. BILLY -LRB- incredulous. -RRB- That's it? That's it? That's it? LUTHER -LRB- dryly, looking at Billy. -RRB- And the check's in the mall. BILLY Right. Just remember, mates. Billy Baird's the name. Anything you need to get, move or watch, I'm your man. And Billy's gone. Ethan and Luther remain alone, both reluctant to say anything, both reluctant to leave. One quick bear hug, then : LUTHER Always nice hearing from you man. Stay in touch. And Luther's off. Ethan looks after him, a bit wistfully. Then, curiously tentative he moves off into the crowd. After a half - dozen steps, something catches his eyes. He stops. One quick bear hug, then : NYAH -LRB- a tad wary. -RRB- Do you know me? NYAH is inches from him. Without batting an eye. ETHAN No. Should I? NYAH No. You just looked as if you did. ETHAN No. She wraps her arms around him and kisses him with considerable conviction. ETHAN -LRB- cont'd. -RRB- just as if I'd like to. NYAH Oh. Well. He kisses her with a conviction that is more than a match for hers. NYAH -LRB- cont'd. -RRB-. I think that can be arranged. Looks around at the swirling crowd : ETHAN Let's get lost. And in a moment they've vanished from the frame and into the crowd. Camera begins to pull back, the bustling crowd ever filling the frame - and in the distance, perhaps, just a splash of a bouquet of flowers can be seen, appearing to bounce along on its own, the rising beat of the MI theme : BEGIN CREDITS : IMF II - CHIMERA" ]

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[ "EXT. HUNGARY - BUDAPEST - 1973 - DAY Budapest skyline, looking towards the Parliament building. From here the world looks serene, peaceful. Then, as we begin to PULL BACK, we hear a faint whine, increasing in volume, until it's the roar of two MiG jet fighters, cutting across the skyline. The PULL BACK reveals a YOUNG BOY watching the jets, exclaiming excitedly in Hungarian.", "EXT. BUDAPEST STREET - DAY LATERALLY TRACKING down a bustling street, as the jets scream by overhead. Pedestrians look up. All except one man who continues walking. This is JIM PRIDEAUX. ACROSS THE STREET : More pedestrians. We're not sure who we're supposed to be looking at - the short stocky man? The girl in the mini skirt? The man in the checked jacket? A car driving beside Prideaux accelerates out of the frame. Across the street the girl in the mini - skirt peels off into a shop. The stocky man turns and waves to us. But it is n't Prideaux he's greeting but another passerby, who walks over, shakes hands. Now we're left with Prideaux and the Magyar in the checked shirt, neither paying any attention to each other. Just as we are wondering if there is any connection, the two reach a corner and the Magyar, pausing to cross the road, collides with another passerby. He looks over and sees Prideaux has caught the moment of slight clumsiness and gives the smallest of rueful smiles. A tiny moment of contact between the two. Then both men walk on around the corner, just two strangers headed in the same direction.", "EXT. SUBWAY EXIT - DAY Shooting up the steps of the exit to the imposing GALERIA building on the corner ahead. Prideaux and the Magyar walk up the steps, still paying no attention to each other, and head towards.", "INT. BUDAPEST - GALERIA - DAY A formerly grand arcade. Many of the shops are now closed, the one's that are open do n't have much to sell. A CAFE occupies the middle space under the high vaulted ceiling. A JAZZ ROCK band rehearses in one of the nearby disused shops, incongruous in the window, music muffled by the glass. Customers sit around tables playing chess, drinking coffee, a mother breast - feeding, the hum of chatter. The ordinary world. We find Prideaux and the Magyar sitting at one of the tables. MAGYAR -LRB- Hungarian, subtitled. -RRB- And porkolts. You know porkolts? JIM PRIDEAUX -LRB- Hungarian, subtitled. -RRB- Yes, I've had it. MAGYAR It's very good. Better than goulash. But you wo n't get it in Budapest now. JIM PRIDEAUX Why's that? MAGYAR All the pigs have gone to Moscow. He gives a sly laugh. Prideaux smiles, draws on his cigarette, nonchalantly examining the people at the tables around them. A WAITER arrives, belly bulging out of his grubby shirt, hair plastered to his head. He puts two wizened - looking sandwiches in front of them. PRIDEAUX'S P.O.V. - A DROP OF SWEAT trickles from the Waiter's face, drips onto the table top. The Magyar catches Jim looking at the droplet and gives a wry smile - `` nice service.'' Jim smiles back but a bell has begun to ring inside him. JIM PRIDEAUX When do I get to meet your friend? The Magyar chews on his sandwich, notices Prideaux is ignoring his. MAGYAR I'll take you to him. Not eating? Prideaux pushes his sandwich across the table, his manner still easy, but his eyes flick after the Waiter, who stands at the entrance to the coffee shop, arguing with another man. He looks around the Galeria again, looking low - checking the feet of the other customers? Then raising his gaze, he checks the windows of the apartments above which look down into the arcade. PRIDEAUX'S P.O.V. - An OLD WOMAN stands in the shadows by a window above. She is watching him. Catching his gaze she shrinks back into the darkness and disappears. Prideaux's expression does n't change but he sets his coffee cup down and casually stands. The Magyar looks up in surprise. JIM PRIDEAUX Would you excuse me a moment? He starts to walk towards the exit of the Galeria. Behind him his chair teeters for a moment, then slowly falls back and lands with a CRASH, sending pigeons fluttering up to the domed ceiling. The WAITER starts, turns, sees Prideaux leaving. Panic flashes across his face, he draws a GUN from the back of his belt, aims after Prideaux and FIRES - the shot echoing in the cavernous space. The shot misses, RICOCHETING off the tiled wall and Prideaux keeps walking, fighting down the impulse to run, as behind him, out of focus - an image from a surreal NIGHTMARE : the other CUSTOMERS stop what they are doing, like actors at the end of a scene, and begin to rise, some drawing guns. We hear a muffled voice shouting distantly in Russian. KGB MAN No firing! Ahead of Prideaux more figures appear, blocking the exit. He looks over his shoulder just as another SHOT rings out - this one catching him above the shoulder blade and sending him flying out of frame. From around a corner a tall, over - coated man - KGB - strides towards the scene, still bellowing in Russian. KGB MAN -LRB- CONT'D. -RRB- Who told you to fire? Who told you to fucking fire? THE JAZZ BAND have stopped playing and are staring at the ground, arms at their sides, anxious not to see anything. In the TOP WINDOW - the OLD WOMAN slips back into sight. HER P.O.V. - Prideaux lies face down in the arcade below. As we watch one of his arms slides out, leaving a slick of blood. Then he's still. BELOW - The KGB Man has grabbed the Waiter and started to beat him. KGB MAN -LRB- CONT'D. -RRB- Fucking Hungarian amateur! We wanted him alive! Behind him we can see the breast - feeding MOTHER. She's dead, a bullet hole in the centre of her forehead from the ricochet. The baby continues to suckle on, undisturbed. Through the cafe window we can see a MAN, partly obscured by the crowd in front of us, the only man still seated. He lights a cigarette. CLOSE ON THE LIGHTER as he replaces it. We can make out an inscription : `` To George, from Ann. All my love.'' In the Galeria the KGB Man continues to bellow at the Waiter. The baby begins to WAIL. FADE TO BLACK.", "EXT. HQ OF BRITISH INTELLIGENCE - \"THE CIRCUS\" - DAY A bird's eye view of the Circus.", "INT. CIRCUS - FIFTH FLOOR - - \"MOTHERS\" OFFICE - DAY A woman, CONNIE SACHS, a face that's seen it all, leans against a wall, smoking. A middle - aged woman, one of the secretaries or `` MOTHERS'' walks past, pushing a trolley of documents. She nods at Connie mournfully. Connie looks stricken. The Mother walks on into.", "INT. CIRCUS - CONFERENCE ROOM - DAY A long conference table. We are looking at an ELDERLY MAN at the head of the table. He's sitting on a rather ornate carving chair - a little like a throne - and he looks ill. He is signing documents, his signature a simple `` C,'' scrawled in GREEN INK, aware all eyes are on him. A cigarette burns away in an already loaded ashtray. This is the head of the Circus - known as CONTROL. Around him are four lieutenants - the inner circle of the intelligence service - PERCY ALLELINE, TOBY ESTERHASE, ROY BLAND and BILL HAYDON. Beside him, his right - hand man - GEORGE SMILEY. From the thick and embarrassed atmosphere we might guess we are at the end of a coup, the final ousting of a King. All we hear is the ticking of a loud clock and the scratch of the pen. Smiley looks up to find Alleline's gaze fixed on him. Alleline quickly looks down at his hands. CLOSE ON SMILEY - as he examines the others, gauging the SHIFT OF POWER occurring in the room. - Bill Haydon - handsome, urbane, frowning with tension, pulls on his cigarette. - Roy Bland - heavy set and moustached, flicking a guilty look up at Smiley and away. - Toby Esterhase - immaculate hair and suit, eyes on Alleline, watching for a cue, like a dog told to ` stay'. No - one will look at him. ON SMILEY - realising there is no hope. Control finishes, puts the pen back in his pocket. He hands the file to the MOTHER who, red - eyed, walks with it out of the room. PERCY ALLELINE -LRB- Scottish accent. -RRB- I wish I could have done more, Control. CONTROL -LRB- Coolly. -RRB- You did all you could, Percy. -LRB- Beat. -RRB- Well, a man should know when to leave the party. Beat. The clock suddenly gives a discordant chime as it sounds the hour. A hint of bitter amusement on Control's face, as though he's been waiting for this wrong little note to make his move. He grinds his cigarette out. Toby ca n't wait any longer. TOBY ESTERHASE What about Smiley? Control looks at Smiley. His gaze impersonal. ON SMILEY - the faintest flicker in his eyes as he tries to prepare himself for the shock of dismissal. CONTROL Smiley is leaving with me.", "INT. CIRCUS - FIFTH FLOOR - DAY PUSHING Control and Smiley as they walk down the corridor. Alleline and the Lieutenants are waiting for them. A horribly awkward moment. Toby pulls open the cage lift doors for them, as if to hasten the eviction. Haydon looks at him with contempt. BILL HAYDON You little prick Esterhase. Control sweeps past them and the lift, determined to walk every step of the way. Smiley follows.", "INT. CIRCUS - STAIRCASE - DAY Control and Smiley, begin their descent through the rigid hierarchy of the Circus. As we TRACK with them, we see that each floor is its own WORLD. The two men walk past the fourth floor REGISTRY - the vast archive of intelligence, staffed by RESEARCHERS. Smiley and Control pass down another flight and along the third floor - INTELLIGENCE OFFICERS - heads poking out of offices, amongst them JERRY WESTERBY. Down to the second floor - SCALPHUNTERS - the muscle of the Circus. The boredom of an air - port lounge, a sunken sofa and pool - table. The Scalphunters watching them go in respectful silence. On down to the first floor TYPING POOL - staffed by pretty young society girls - the DEBS - who watch open - mouthed, as their Chief passes them for the last time. And finally down to.", "INT. CIRCUS - GROUND-FLOOR LOBBY - DAY An ancient doorman - BRYANT - feeling the moment must be marked in some way - leaves his sentry box and opens the main door for Control. Control acknowledges the salute with a flick of his eyes and we push through the doors.", "EXT. CIRCUS - ROOF OF THE CIRCUS - DAY Alleline and Bland stand smoking, watching Control and Smiley emerge onto the pavement.", "EXT. CIRCUS - DAY CONTROL and SMILEY stand on the street. They stare at each other for a moment. This is goodbye. They shake hands. Perhaps there's a little reserve in Control's manner, a lack of warmth. From the expression on Smiley's face we see that he is pained by this. Control puts his collar up and walks away. Smiley stands forlornly as Control disappears into the crowd. TITLES OVER A MONTAGE", "EXT. HAMPSTEAD POND - AUTUMN DAY THE WATER OF THE POND - still, glassy. A MAN'S head breaks the surface - Smiley swimming through his retirement. He takes a breath and submerges again. Beyond him we see a straggled diagonal line of elderly heads, bobbing through the water.", "EXT. HAMPSTEAD POND - DAY Smiley dries himself under the trees, pink and raw in the cold fresh air. He smooths his hair down, feeling a little less ridiculous. He looks over to where a VERY ELDERLY SWIMMER is being helped into the water - little more than trembling bones. Is this his world now?", "INT. CIRCUS - FIFTH FLOOR - DAY A MOTHER unloads a stack of files from a LIFT shaft and places them into her wheeled safe. A piece of CHRISTMAS TINSEL is wound along the trolley. We track with her through the HIVE - LIKE atmosphere of the fifth floor, behind her the conference room - a glimpse of Alleline in Control's chair, surrounded by his lieutenants - smoke and whiskey - engaged in the business of the world. She pushes on into Alleline's OFFICE - loads the new files into the LARGE SAFE there, locks and spins the combination.", "INT. SMILEY'S HOUSE - WINTER DAY Smiley stands frying an egg in his small kitchen.", "INT. SMILEY'S HOUSE - DAY Smiley sits eating his solitary lunch, reading a volume of Grimmelshausen. He turns a page, examines the illustration of a knight and a dragon - holds it at arms length, trying to focus on it.", "INT. SMILEY'S HOUSE - BEDROOM - NIGHT Smiley lies in the double bed, a conspicuous empty space next to him. He leans over and turns the light out.", "INT. CIRCUS - FIFTH FLOOR - ALLELINE'S OFFICE - NIGHT A HAND removes files from the LARGE SAFE. ON A BRIEFCASE - as the files - marked TOP SECRET - are slipped inside.", "INT. CIRCUS - FIFTH FLOOR - EVENING P.O.V. MYSTERY MAN. TRACKING through the near - empty offices. All the drawers of the desks are OPEN. BINS on the tables. A few mothers working late, illuminated by their desk lamps. One of them is applying lipstick, prior to leaving. She does n't react as we track by.", "EXT. OPTICIANS - SPRING DAY We are looking at large blurred LETTERS. A lens is slotted into our frame and the letters leap into BOLD. Smiley is in a chair, being fitted for spectacles.", "INT. OPTICIANS - DAY Smiley is selecting frames from a display. He tries on a pair, watched by a bored shop assistant, used to the pedantic ways of the retired.", "INT. CIRCUS - GROUND-FLOOR LOBBY - EVENING TRACKING with the BRIEFCASE as the mystery man walks towards the main entrance. The ELDERLY PORTER - BRYANT - nods respectfully.", "INT. LONDON UNDERGROUND - EVENING A packed train - Businessmen in bowler hats, long - haired seventies youth - the old and the new bumping underneath the city. We track low level until we find our MYSTERY MAN, the BRIEFCASE clutched in his hand.", "EXT. SAFE HOUSE - EVENING Tracking with the BRIEFCASE as it is carried towards the house.", "INT. SAFE HOUSE - GROUND FLOOR - NIGHT An elderly lady - MRS McCRAIG - stands at the sink. Through the window she catches a glimpse of the Mystery Man's legs passing, the briefcase in his hand as he walks up the steps towards the front door. Calmly she dries her hands as the doorbell rings and her DOG begins to bark furiously.", "INT. SAFE HOUSE - GROUND FLOOR - NIGHT Mrs McCraig opens the door and the figure passes her and the barking dog without a word and begins to walk up the stairs.", "INT. SMILEY'S HOUSE - DRAWING ROOM - DAY Smiley adds a LETTER to a pile on the mantelpiece. We see the letters are all addressed to ANN SMILEY. He straightens up, finds himself staring at a PAINTING on the wall - a muddy abstract.", "INT. SAFE HOUSE - MEETING ROOM - NIGHT The room is almost bare - two chairs at a small table on which stands two desk lamps and a CAMERA. The Mystery Man has crossed to the wall by the window and opens the GRILL on an AIR DUCT.", "EXT. SAFE HOUSE - NIGHT From across the street a tall good - looking man - POLYAKOV - watches as the opened duct spills a star pattern of light out into the night air. He walks towards the house.", "INT. SAFE HOUSE - MEETING ROOM - NIGHT The Mystery man settles at the table, sorting through the contents of the briefcase as, from down below, we hear the sound of the door bell, the dog barking and footsteps on the stairs. Polyakov walks into the room and joins the Mystery Man at the small table. He picks up the camera with a smile. POLYAKOV -LRB- In Russian. -RRB- Shall we begin? END OF TITLES", "EXT. LACON'S HOUSE - EARLY MORNING Lights glowing in the early morning gloom, an ultra - modern cube of a building sits in rather traditional grounds. This is the unlikely home of Oliver Lacon, Permanent under - secretary.", "INT./EXT. LACON'S HOUSE - MORNING As we watch a young girl - JACKIE LACON - appears at the living room window in her night - dress, playing with a toy. As we watch her we hear stealthy footsteps approach. Then a MAN steps into frame, his back to us, watching the girl through the window. He taps on the glass with one hand. Jackie looks up, surprised. As we pull back a little we see the man has his other hand behind his back. And in it is a long, bone - handled KNIFE. Behind Jackie we see a string bean of a man, OLIVER LACON, tying his silk dressing gown as he cautiously approaches the window. On the other side, the intruder stands, smoking. LACON -LRB- through glass. -RRB- This is private property. Who are you? He takes in the man before him - filthy and bearded, you could mistake him for a tramp. But beneath the grime he's tanned and his eyes have a dangerous, feral edge. This is RICKI TARR. RICKI TARR Minister Lacon. He smiles. LACON What do you want? RICKI TARR I want to talk to Control. And I want breakfast.", "INT. CIRCUS - SCALPHUNTERS - DAY PETER GUILLAM walks down a corridor. Handsome, boyish, bored. He hears a TRING behind him. It's Haydon, one foot up on his pedal, scootering along the corridor. Guillam waits for him. He likes this man. PETER GUILLAM -LRB- of the bike. -RRB- Has that been cleared? BILL HAYDON I'm not bloody chaining it outside. Mind you, probably no safer in here, with you bunch of cut - throats. They arrive at a half - paned office cubicle. Inside is a very pretty GIRL, a new DEB, being shown the ropes by an older woman. HAYDON Thought I'd get a glimpse of the new girl. Before Bland gets to her. He seen her yet? GUILLAM Oh yes. Down first thing. GIRL'S P.O.V. -. as Haydon and Guillam pass, staring in at her, cropped above the waist. Haydon appears to be gliding supernaturally by. He gives a little wave. HAYDON You may fuck me, Belinda, but you still have to call me sir in the morning. Guillam grins. Haydon glides off, hand raised in farewell as Guillam turns into the Scalphunters arena.", "INT. CIRCUS - SCALPHUNTERS - GUILLAM'S OFFICE - DAY Guillam sits at his desk over a pile of paper - work, slowly falling asleep. BANG! A pool ball thwacks the window, cracking it. At the same moment the PHONE begins to ring. Guillam jerks upright, looks over at the pool players, too bored to be angry. POOL PLAYER -LRB- O.S. -RRB- Sorry Peter. Guillam answers the phone. PETER GUILLAM Peter Guillam. He listens to the voice on the other end. After a moment he turns away from his colleagues, his former drowsiness abruptly gone.", "EXT. LONDON STREET - EVENING Smiley in his NEW GLASSES, towel rolled under his arm, walking down the street. He stops for a moment, feeling himself watched.", "EXT. SMILEY'S HOUSE - EVENING Smiley on the steps to his home, stops, examines the door, removing a WEDGE from the top of the door frame.", "INT. SMILEY'S HOUSE - EVENING Smiley walks into the hallway, stopping to pick up post.", "INT. SMILEY'S HOUSE - EVENING Smiley places the wedge and the letters on the mantelpiece, where a BUNDLE of LETTERS already sits, addressed to ANN SMILEY. Unopened.", "INT. SMILEY'S HOUSE - KITCHEN - EVENING Smiley frying an egg. There's a knock at the door.", "INT./EXT. SMILEY'S HOUSE - EVENING Smiley opens the door to PETER GUILLAM. SMILEY -LRB- Surprised. -RRB- Hello, Peter. They stare at each other. Smiley takes in his expression - this is not a social call. SMILEY -LRB- CONT'D. -RRB- Have I time to change? Guillam nods, following Smiley into the house. He glances at a painting on the wall - a muddy ABSTRACT. He crosses to examine it and then notices the bundle of Ann's unopened letters.", "INT. SMILEY'S HOUSE - EVENING Guillam enters the kitchen, notes the single place set for dinner. It dawns on him that he really has invaded Smiley's privacy. Smiley appears in a coat behind him, taking in Guillam's awkwardness. He gives a thin smile. SMILEY Are we going far?", "INT. GUILLAM'S CAR - EVENING Smiley and Guillam sit in silence, as Guillam drives through London. It's a Citroen DS, all sleek leather and mahogany interior.", "INT. LACON'S HOUSE - EVENING A half eaten bacon SANDWICH, sitting on a table. We pan up and through the open window see an anxious Lacon is leading Guillam towards the house. Smiley follows, talking to Lacon's daughter. LACON How's your mother? PETER GUILLAM Very well. -LRB- referring to the window. -RRB- Is this where he got out? LACON Mmm, I came back in and it was wide open. -LRB- beat. -RRB- Do send her my love. Apologies for singling you out, but. very sensitive matter. He gives an uncomfortable bark of laughter. LACON -LRB- CONT'D. -RRB- If one ca n't trust one's own nephew. You know who he was? PETER GUILLAM Ricki Tarr, sir. One of my scalp - hunters. He's been on the wanted list for a year. Last job was Istanbul, bit of coat - trailing for a Russian convention. LACON Why is he on the wanted list? PETER GUILLAM -LRB- beat. -RRB- He killed our man in Istanbul. Cut his throat. Been on the run since then. If possible, Lacon looks even more shaken. LACON My God. In my own home. my family. The bloody animals you people employ!", "INT. LACON'S HOUSE - NIGHT PULLING OLIVER LACON as he leads Smiley and Guillam down the hall, gesturing for his WIFE to take Jackie away. He attempts some social niceties, but his tone is strained. LACON And how are you George? Missing one's work, one's buddies? SMILEY Oh, I think I manage pretty well, thank you. They reach a large room, minimalist apart from a grand piano framed by vast glass windows. A tall, well built young man - FAWN - stands on guard. Lacon gestures to him and Fawn opens the french windows and he and Guillam walk out onto the terrace beyond. Behind them, unnoticed, young JACKIE creeps back into the room and slips behind the sofa. LACON Your wife, the lovely Ann? She's in the pink, and so on. SMILEY Very well. -LRB- Beat. -RRB- Very bonny. Fawn closes the french doors behind him and Lacon is suddenly all business. LACON Do you know this man Tarr? SMILEY -LRB- Mildly. -RRB- I recruited him actually. In Penang. Good with women. Likes to talk. What did he say to you? LACON He said he had some intelligence for Control. Had no idea he was dead. The news obviously had n't reached Wonga Wonga land. Then he said he would only tell it to someone outside the Circus. If he could n't have a Minister, he would settle for the Under - secretary. Lucky me. Lacon lights a cigarette, smokes a moment, building up to something. Smiley waits him out. The room has become very still. LACON -LRB- CONT'D. -RRB- He said there's a mole. Right at the top of the Circus. And that he's been there for years. Smiley absorbs this. The moment is suddenly broken by a few stray notes from the piano. The two jump slightly and turn to where Jackie sits at the keyboard, smiling triumphantly.", "EXT. LACON'S HOUSE - TERRACE - NIGHT Smiley and Lacon stand on the terrace alone. Lacon glances anxiously at Smiley, trying to read him. LACON I was sad to see you go, George. I thought it was shabby, very shabby. But the Minister agreed with Sir Percy. New broom, clean sweep, wheat from the chaff and all that. And to be fair, Percy has had some marvellous results since you and Control left. Realizing how this sounds, he glances at Smiley to see how much damage he's caused. LACON -LRB- CONT'D. -RRB- Anyway, it does mean you're rather ideally placed to look into this matter for us now, does n't it? Outside the family? Smiley looks blandly back at him. SMILEY I am retired, Oliver. Silence. Lacon looks uncomfortable, something he has n't yet said. LACON Thing is, some time back, when Control was still alive, he came to me with a similar suggestion. Smiley looks at him, surprised. LACON -LRB- CONT'D. -RRB- He never mentioned his suspicions to you? SMILEY No. LACON I just thought. with you being `` his man'', so to speak. SMILEY What did you say to him? LACON -LRB- Beat. -RRB- I'm afraid I thought his paranoia had got the better of him and he was pulling his own house down. That does happen in your business. And that bloody mess in Budapest. Smiley stares out over the rolling countryside, inscrutable. LACON -LRB- CONT'D. -RRB- Damn it, George, this is your generation, your legacy! If there's any truth in this you'd think you'd want to. He controls himself. SMILEY -LRB- Beat. -RRB- I'll keep Peter Guillam. And there's a retired special branch man. Mendel. I'd like to have him. Lacon exhales, his relief palpable. LACON Yes, yes. Do your own housekeeping. Good man. He glances back at Guillam and Lacon's daughter, picking out a melody on the grand piano. LACON -LRB- CONT'D. -RRB- Damn thing cost a fortune. Three years of lessons and all I hear is Edelweiss. You and Ann never had children, did you? SMILEY No, we never did. We hear the piano playing on as we.", "EXT. LONDON - MENDEL STREET - MORNING driving through suburban DAGENHAM. We pull up in front of a neat Tudor semi.", "EXT. MENDEL'S GARDEN - DAY CLOSE ON A COLONY OF BEES GLOVED HANDS loading a COLONY OF BEES into a new HIVE. An APIARIST, in protective hat and gloves, turns to examine the MAN who has appeared in his back yard - GEORGE SMILEY. Smiley raises a hand. The Apiarist steps away from the hive and removes his hat to reveal a long thin face, keen eyes - INSPECTOR MENDEL.", "EXT. MENDEL'S HOUSE - DAY Mendel, now in an overcoat and carrying a battered briefcase, climbs into the back of the car with a nod to Smiley and Guillam in the front. He begins to roll a cigarette as Guillam drives away. A stow - away BEE appears from somewhere and begins to buzz around the car. Guillam and Mendel swat at it clumsily. Smiley stares ahead in silence. He winds down the window and the bee flies to safety.", "EXT. HOTEL ISLAY - DAY A shabby rooming house, near Paddington station.", "INT. HOTEL ISLAY - SMILEY'S ROOM - DAY A large, faded floral monstrosity of a room. TWO single beds, a large leather CHAIR, a WIRELESS. Smiley's new landlady MRS POPE GRAHAM is supervising a gormless teenager - NORMAN - who is struggling into the room with a rickety card table. Mendel and Guillam take it from him and set it into the room. From the next room comes the unmistakable sounds of someone having sex. MRS POPE GRAHAM -LRB- re the table. -RRB- It's Georgian, I should n't lend it to you but since Mister Mendel recommends you. She gives the table a sentimental tap, raising her voice a little to drown out the excesses from the room next door. MRS POPE GRAHAM -LRB- CONT'D. -RRB- You will love it for me wo n't you? It belonged to Mister Pope - Graham. She glances at Smiley who has his back to her looking out into the London street. SMILEY'S P.O.V. looking out at rooftops opposite and a travel agents sign which reads THE WIDE WORLD. MENDEL -LRB- O.S. -RRB- My friend just wants peace and quiet in order to work, Mrs Pope - Graham, no disturbances. MRS POPE GRAHAM And that's what he shall have. You want anything you can ask Norman, ca n't he, Norman? And they leave. A small silence. MENDEL Her real name is plain Graham. Added the Pope for a touch of class. Guillam gives a grunt of amusement. MENDEL -LRB- CONT'D. -RRB- Best informant I ever had. Smiley has turned his attention to the bed. He examines the stained sheets with distaste. As he speaks he strips off the soiled sheet and replaces it with a clean one from his bag. SMILEY Control lived with his sister did n't he? He straightens up from the bed, smooths the pristine sheet. Mendel flips his notebook back. He's already there. MENDEL Basingstoke. Not much of a paper - trail as you can imagine. His pension and she owns a block of bedsits in her own name in West London. GUILLAM We should. Mendel flicks another page. MENDEL Webb and Bryson are the letting agents. Properties in half of the west end judging by this list. Guillam is lying on the bed. Smiley stands at the window, Mendel slumped in an armchair. SMILEY We're only looking for short term rentals. Within the last year. MENDEL -LRB- Reading from the list. -RRB- A Miss Hilliard. L. Cavaleri? D Weaver, M Crowley, M Cushing. F. Farling. G. Hiaasen. A Mrs Hawcombe. R. Kee. M. Kass. H Staunton. CLOSE on Smiley as his eyes flickers at the name. MENDEL -LRB- CONT'D. -RRB- K. Menzies. SMILEY How long was H. Staunton a tenant? MENDEL -LRB- Consulting the list. -RRB- Still is. Been renting for a few years now. Something? SMILEY -LRB- Musing. -RRB- Howard Staunton. Control used to say he was England's greatest chess master. Died in eighteen seventy - four.", "EXT. CONTROL'S FLAT - DAY Guillam and Smiley approach outside a red - brick mansion block of flats in West London.", "INT. CONTROL'S FLAT - HALLWAY - DAY Smiley and Guillam reach a flat near the shadowy top of the building. Smiley studies the door. He runs his fingers over the door - frame and there it is - a little WEDGE at the top.", "INT. CONTROL'S FLAT - DAY Guillam, followed by Smiley, pushes in against a mound of dead mail. They advance cautiously into the dirty flat, the windows fogged out with Windowlene. THEIR P.O.V. - TRACKING TOWARDS THE DOOR Guillam has reached the DOOR and disappears into the room beyond.", "INT. CONTROL'S FLAT - DAY A green velvet armchair sits at the centre of a room. Beside it an ashtray over - loaded with stubs. The rest of the room is mounded with PILES AND PILES OF PAPERS - files, document boxes, maps and charts, something insane in the sprawl of it all. Guillam stands with his back to us staring at a CHESS SET laid out before the chair, as if in mid - game. Four of the chess pieces have had PHOTOGRAPHS of FACES added to them - ROY BLAND. TOBY ESTERHASE. PERCY ALLELINE. BILL HAYDON - all wearing paper PARTY HATS. The effect is ridiculous and a little disturbing, like some Surrealist objet d'art. Guillam hears Smiley and turns, almost guiltily, and as he moves we see there is a FIFTH PHOTOGRAPH on a piece - and it is of Smiley himself. Smiley stares at his image.", "INT. CIRCUS - TOBY ESTERHASE'S OFFICE - DAY Toby Esterhase is on the telephone, speaking softly in Hungarian. A look crosses his face. He suddenly notices Haydon in the doorway, cup of tea in hand. Esterhase asks the caller to hold and places the handset on the desk. TOBY ESTERHASE Help you with something Bill? BILL HAYDON Looking for his Majesty. TOBY ESTERHASE -LRB- sullenly. -RRB- He's walking the battlements. Toby's eyes flicker toward the handset. BILL HAYDON -LRB- in Hungarian, subtitled. -RRB- Much obliged. Bill leaves, and Toby resumes the call.", "EXT. ROOF OF THE CIRCUS - DAY Alleline stands on the rooftop, staring out over the London skyline, his expression ambiguous - perhaps obscurely troubled to have found himself at the top. He becomes aware of Roy Bland standing behind him. ALLELINE -LRB- Without turning. -RRB- Roy. BLAND It's the Yanks. They want to come in and talk. Alleline continues to stare out over the world, but allows himself a small smile of triumph - and relief. ALLELINE Of course they do. We have Witchcraft. And they do n't.", "INT. HOTEL ISLAY - SMILEY'S ROOM - DAY Mendel and Guillam carry in boxes, each overflowing with files and bundles of yellowing papers. SMILEY Thank you. Anywhere will do. They dump the files and Smiley turns to survey his room. In his hand he is toying with a black chess piece labelled `` KARLA''. The far wall is now stacked to the ceiling with the contents of Control's room - thousands of files and documents, piled in no logical order. The three survey the mountain of information in silence. MENDEL -LRB- Wryly. -RRB- That enough for you to be getting on with? SMILEY -LRB- Beat. -RRB- No. Peter, I need you to do something for me.", "INT. CIRCUS - SCALPHUNTERS - DAY The `` Scalphunters'' floor. Guillam is in his office, painted out panels below the waist, glass above. He sits, hands on the desk, steeling himself for what he has to do. Abruptly he stands and walks out. We TRACK with him as he walks through the Scalphunters `` quad'' area - a worn out sofa, the old pool table. One of the Scalphunters - KASPAR - stands flirting with a pretty SECRETARY - BELINDA - the `` Deb'' we saw earlier. Guillam acknowledges them casually as he passes. The girl gives a little wave. She LIKES him. Kaspar stares after Guillam. He does n't. We continue tracking with Guillam as he leaves the Scalphunters area, walks down the corridor, turns left into.", "INT. CIRCUS - MEN'S ROOM - DAY He stands at the basins, checking the room is clear. Examines his watch, then crosses to the door and opens it a crack, peering out. GUILLAM'S P.O.V. We're looking though a glass panelled door at the PERSONNEL OFFICE. A dapper little man in a club tie - FAWLEY - sits behind his desk, idly tapping a desk toy - a Newton's Cradle. He too checks his watch. Lunch time. Gets up and walks out of his office. Guillam counts to ten under his breath and then abruptly, walks out of the men's room, across the corridor and into.", "INT. CIRCUS - FAWLEY'S OFFICE - DAY The Cradle is still swinging - steel balls clacking softly. Guillam is opening a safe, pulling out documents, photographing them with a SUBMINIATURE CAMERA. Close on the documents as Guillam silently photographs them. SMILEY -LRB- V.O. -RRB- I want to see the records of staff recently retired. While you're there get the handbook on staff duties. and the diagram of the Circus's reorganization under Alleline. Guillam hears a voice outside. He draws a SMALL KNIFE from his pocket.", "INT. CIRCUS - FAWLEY'S OFFICE - DAY Kaspar opens the door and walks in, finding. the office empty. Then a faint noise. He works his way around the desk, finds Guillam crouched down, his back to him. KASPAR -LRB- Suspicious. -RRB- Sorry Peter, did n't know you were doing. whatever you were doing? Guillam straightens up to reveal his hand oozing blood from a cut. PETER GUILLAM Trying not to bleed to death. Fawley's got a first aid kit in one of his drawers. Get me a plaster will you? Kaspar busies himself with the first - aid. Eyes hard.", "INT. CIRCUS - LIFTS - DAY Guillam has just stepped into the lift. Roy Bland appears suddenly and steps in beside him. Silence for a moment as they descend. ROY BLAND -LRB- without looking at him. -RRB- Heard you had an accident. Guillam makes a mental note against Kaspar. PETER GUILLAM Cut it on a drawer handle. -LRB- Beat. -RRB- When are we going to get some new furniture round here? ROY BLAND I'll have a word with Esterhase, Peter. We'll make it a priority on the top floor. They arrive on the ground floor. Bland walks out ahead. Guillam exhales with relief. Then. ROY BLAND -LRB- CONT'D. -RRB- -LRB- as he walks away. -RRB- Where are you off to? PETER GUILLAM Lunch. ROY BLAND Want some company?", "INT. PUB - DAY The two men sit drinking at a table in a nearly deserted local bar. ROY BLAND Tell you the truth, I'm in no hurry to get back up there. PETER GUILLAM Smothered by the Mothers. ROY BLAND Something like that. Those old birds, all pining for Control. Percy still ca n't get a decent cup of tea out of them. Still, I imagine it takes time. PETER GUILLAM What does? ROY BLAND Loyalty. He takes a pull of his pint. ROY BLAND -LRB- CONT'D. -RRB- If it was up to me, I'd replace them all with those ` naice' girls from registry. Like to hear a few high heels about the place. He reaches suddenly for Guillam's coat, lying on the seat - his hand heading for the pocket that holds the SUBMINIATURE CAMERA. ROY BLAND -LRB- CONT'D. -RRB- Scrounge a fag? PETER GUILLAM -LRB- Quickly. -RRB- Here. He pushes his cigarettes into Bland's hand before he can fish in the coat. Bland smokes for a moment. ROY BLAND -LRB- Suddenly. -RRB- What do you think of Datsuns? PETER GUILLAM What? ROY BLAND Datsuns. Just got one. Wife made me. Hatchback. Caught sight of myself in it, driving past a shop window and I thought to myself `` Who's that old fucker?'' He stares at Guillam with faint smile, but his eyes are cold and watchful. ROY BLAND -LRB- CONT'D. -RRB- What are you driving? PETER GUILLAM Citroen. ROY BLAND French? Ooh la la. He continues to stare at Guillam with the faint smile, and Guillam feels a sickening wave of paranoia. ROY BLAND -LRB- CONT'D. -RRB- Drink up and I'll drop you back. You've probably got some girl waiting.", "INT. GUILLAM'S FLAT - NIGHT Guillam sits alone at the table reading a newspaper. After a moment, a man, his lover - RICHARD - a decade or so older - walks behind him, stroking his hair tenderly, and joins him at the table. Guillam automatically checks the window - the flat opposite, a lit window - could someone see them? He gets up and closes the curtains, settles back at the table, passing Richard a section of the paper. The two sit in domestic contentment, reading.", "EXT. HOTEL ISLAY - NIGHT SMILEY'S P.O.V. - LOOKING DOWN FROM A WINDOW A ministerial car pulls up and Lacon climbs out.", "INT. HOTEL ISLAY - SMILEY'S ROOM - NIGHT The music - a CHARLIE RICH track - plays on a TRANSISTOR RADIO. Smiley sits at the window listening to the MUSIC. Guillam dictates from a photograph of the documents he took at the circus. Smiley becomes aware that the others are watching him. He turns away, tunes the radio into a DIFFERENT STATION, cutting the Charlie Rich tune. PETER GUILLAM Jerry Westerby, dismissed December 4th. And. Connie Sachs, retired November 28th. That's just two weeks after you and Control were forced out. Smiley considers this, turns back to the CHESS SET. He writes Connie's name on a slip of paper, pastes it to a chess piece. There is a knock at the door. Mendel lets LACON into the room excluding a very excited MRS. POPE GRAHAM. Lacon's wearing a tux, looking extremely uncomfortable, almost offended at the role he finds himself playing. SMILEY I know that car. LACON On our way to La Bohème. The Minister wondered if there was anything to report? SMILEY Not much, I'm afraid. We were just discussing the departure of Connie Sachs. I wonder how Research manages without her. PETER GUILLAM Probably relieved. She always struck me as unhinged. SMILEY That was one of her talents. LACON looks around him, dripping disdain. LACON -LRB- Indicating the chess set. -RRB- Looking a little unhinged yourself, George. SMILEY -LRB- Distracted. -RRB- Hmm? He turns to him. SMILEY -LRB- CONT'D. -RRB- Yes, I suppose I am. Perhaps that's what we have to become? A little paranoid? He turns back to the chess board. SMILEY -LRB- CONT'D. -RRB- -LRB- To Lacon. -RRB- Your `` clean sweep.'' What if the Mole was actually behind that sweep? What if each of us, whether we knew it or not, represented a threat to the Mole? Lacon looks at a pile of files, distractedly picks one up. He starts to leaf through one. LACON -LRB- Unconvinced. -RRB- Control lost his position because of that fiasco in Budapest. that poor chap? He looks to Guillam for the name. PETER GUILLAM Jim Prideaux. Smiley nods thoughtfully. SMILEY Yes. Yes, he did. He writes PRIDEAUX on a slip of paper, pastes it to a chess piece. Lacon picks up another file, Something catches his eye : a letter head of FLAMES. He looks up shocked. LACON How did you get this? This is Witchcraft material. He grabs the piece of paper, stuffing it in his pocket. Smiley looks at him. Lacon reads something implacable in Smiley's gaze. Smiley turns back to the chess set. SMILEY Control was out. And Alleline was in. Thanks to. He writes the name `` WITCHCRAFT'' and places it on a chess piece.", "EXT. HOTEL ISLAY - NIGHT Lacon stalks out of the hotel. SMILEY -LRB- V.O. -RRB- Alleline's `` special source.'' LACON -LRB- V.O. -RRB- There is no connection. He climbs into the waiting car. We catch a glimpse of the MINISTER in the back. SMILEY -LRB- V.O. -RRB- Everything is connected. The car drives away.", "INT. THURSGOOD SCHOOL - CLASSROOM - DAY A third - rate English preparatory school. The string orchestra practice - rows of twelve - year old boys sawing away at their instruments. A teacher winces as he hacks at the air above their heads with a ruler. Near the back of the class we find BILL ROACH. He's plump, asthmatic, the last to be chosen for everything. He looks out of the window.", "EXT. THURSGOOD SCHOOL - DAY Roach stares out at us as the rain lashes against the window pane. As we watch an old blue Alvis, towing a battered, second hand CARAVAN, appears - reflected in the window - driving past. Roach watches, thrilled to realise he is the sole witness of this MYSTERIOUS NEW ARRIVAL.", "EXT. THURSGOOD SCHOOL - PRIDEAUX'S CARAVAN - DAY We're looking down into the dip, at the DRIVER of the blue Alvis, setting up his caravan on bricks, in the gloom and rain. He's wearing a waterproof cape and hood, obscuring his face, giving him something of an air of mystery and menace. There's something odd about the way he moves, something about his back, as if it's been knocked out of true. The Driver rocks the caravan from side to side, loading bricks underneath, trying to get the thing level. He senses something and turns to find Roach behind him. Roach instinctively takes a step back from the hooded figure. Then, gathering his courage, he holds out his hand. In his palm, a MARBLE. Roach stands in the caravan, watching the MARBLE as it rolls backwards and forwards on the windowsill - an improvised spirit level. THE MARBLE comes to rest at the centre of the sill, a temporary equilibrium. Roach turns excitedly to the camera, about to call to the Driver, but sees something that stops him in his tracks. The Driver has stopped, his back to us, breathing hard, perhaps from the exercise or perhaps fighting down some pain. The wind catches at his cape and it flutters to one side, revealing the sweat - soaked shirt beneath. As we watch a DARK STAIN appears at his shoulder blade and begins to spread. It's BLOOD.", "EXT. LONDON - OFF LICENSE - DAY Through the window we see Smiley buying a bottle.", "INT. LONDON - PADDINGTON TRAIN STATION - DAY Smiley stands at a ticket kiosk. SMILEY Return to Oxford please.", "EXT. CONNIE'S HOUSE - DAY A large dilapidated Victorian house. We hear the faint sound of voices and pop music coming from the garden. Smiley pushes open the gate, walks down the path, past over - grown shrubbery until he reaches the door with a bell marked `` SACHS.'' Glancing sideways he is caught, entranced, by the sight of a young couple kissing in the window. They turn, suddenly aware of his presence and Smiley, embarrassed, continues walking round the house. SMILEY'S P.O.V.. A group of students in togas are rehearsing a musical version of Lysistrata. A young woman, holding her script, is miming to the song ` Do n't' by Doris. An older woman wearing rather too much make - up is carrying a prop. This is CONNIE SACHS - former Queen of Intelligence at the Circus. She examines Smiley for a moment, and then breaks into a charming smile. ON SMILEY'S EXPRESSION This is not a social call. Connie ca n't keep the disappointment from her face.", "INT. CONNIE'S HOUSE - DRAWING ROOM - DAY Smiley sits in the cluttered drawing room, a plate of scones in front of him. Connie appears carrying a tray of tea. SMILEY -LRB- Of the tea. -RRB- Oh, I brought. He takes the bottle of Scotch from his briefcase. CONNIE SACHS -LRB- eyeing it hungrily. -RRB- Not supposed to. Doctor's orders. Smiley feigns surprise. Connie gives a little girl laugh. CONNIE SACHS -LRB- CONT'D. -RRB- Wicked, wicked George. She takes the teacup he pours with crooked arthritic fingers and drinks. They sit, both staring at the students in the garden, caught up in memories of their youth. CONNIE SACHS -LRB- CONT'D. -RRB- I miss it all so much. All my lovely boys. Smiley hesitates. CONNIE SACHS -LRB- CONT'D. -RRB- I do n't know about you, George but I feel seriously under - fucked. They look at each other a moment. Connie's smile fades. She looks at him almost sorrowfully. CONNIE SACHS -LRB- CONT'D. -RRB- She does n't deserve you, George. Not one hair on your head, never did.", "INT. CONNIE'S HOUSE - DAY Smiley and Connie sit in a dirty, disordered room, Connie on her way to being drunk. As she finishes her glass Smiley fills it. SMILEY You left the Circus shortly after I retired. CONNIE SACHS I did n't leave. I was dismissed. Chucked out on the rubbish heap. -LRB- Beat. -RRB- Like you. SMILEY -LRB- Ignoring this. -RRB- Why? She shrugs, petulant, takes a drink. CONNIE SACHS `` Lost my sense of proportion.'' That's what that personnel cow said. Would n't let go of a bone. SMILEY Which bone? CONNIE SACHS Polyakov. Smiley nods, a look of boredom settling on his face - A SURE SIGN OF INTEREST. SMILEY Polyakov. CONNIE SACHS Cultural Attaché Polyakov. SMILEY Stationed where? CONNIE SACHS Here. London. Turned up in sixty five. And I had a feeling, as soon as I laid eyes on him. But that little swine Toby Esterhase told me I was seeing Spies under the bed. SMILEY Esterhase said that? CONNIE SACHS He had him graded Persil. Whiter than white. And that was that. SMILEY But you disagreed? CONNIE SACHS Pretty Polly? Very military bearing for someone who's never supposed to have been in the army. But, he was good. Went to Embassy functions, lectures. I love a man who lives his cover. Never put a foot wrong. SMILEY -LRB- Beat. -RRB- Never? She ca n't help but smile. CONNIE SACHS -LRB- As if summoning him. -RRB- Pretty Polly. Pretty Polly.", "INT. CIRCUS - RESEARCH - EVENING - PAST Connie is working late. She sits in front of a Steenbeck flatbed editing table, she's chain - smoking, unkempt, but completely focused on the moving images on the screen. CONNIE SACHS -LRB- V.O. -RRB- the busiest culture vulture that Embassy ever had. On the walls around her are framed STILLS from the footage she is watching : Russian Officials at ceremonies - each picture gridded, each official labelled as Connie manages to identify them. CONNIE SACHS -LRB- CONT'D. -RRB- For years we'd been hearing rumours that Karla was building a private army of his own, outside Moscow Centre. We knew he had agents scattered round the globe. I started spending time with the Moscow gazers combing Soviet bulletins and any material I could get. ON SCREEN - Ancient SOVIET VETERANS stand in rows displaying the medals on their chests. CONNIE SACHS -LRB- V.O. ; CONT'D. -RRB- Late one night in Research, I was trawling through some footage of May Day in Berlin, 1969. I saw something, George. Connie slows the images down, concentrating. OFFICIALS in suits are walking into their designated places. We see POLYAKOV amongst them. One of the old SOVIET VETERANS, in dress uniform, a chest full of medals, possibly a touch senile, LOOKS at him. Just before he is obscured by another official we see what the old veteran does. He salutes Polyakov. Connie's smile of triumph is reflected on the screen. She lights a cigarette. CONNIE SACHS -LRB- V.O. ; CONT'D. -RRB- I saw it, George. Connie rewinds the tape and we see the salute - backwards. And again - forwards. CONNIE SACHS -LRB- V.O. ; CONT'D. -RRB- Why would a distinguished soldier, four medals for gallantry, salute our cultural attache Polly? Unless Polly was a war veteran himself? And if he was, why hide the fact? FROM DOORWAY - Connie sits smoking her celebratory cigarette, at the centre of her obsession.", "INT. CIRCUS - RESEARCH - EVENING Connie is showing the footage to Alleline and Esterhase. SMILEY -LRB- V.O. -RRB- What did you do? CONNIE SACHS -LRB- V.O. -RRB- I went straight to Esterhase and Alleline. I said - `` Polyakov is a Karla - trained Hood if ever I saw one. And if he's here it's because he's running a mole.'' SMILEY -LRB- V.O. -RRB- What did they say? Alleline switches off the image. PERCY ALLELINE -LRB- Hard. -RRB- You're to leave Polyakov alone. You're becoming obsessed with him. He glances at Esterhase and then back to Connie, eyes cold. PERCY ALLELINE -LRB- CONT'D. -RRB- You're losing your sense of proportion, Connie. Perhaps it's time you went out into the real world.", "INT. CONNIE'S HOUSE - DAY - PRESENT Connie sits on her bed, with Smiley, drunk now, eyes wet. CONNIE SACHS Hate the real world. -LRB- Beat. -RRB- What does it matter? Old Circus is gone anyway, apart from Bill Haydon. Better off out of it. -LRB- Beat. -RRB- I know you never liked him. SMILEY -LRB- Sharply. -RRB- What nonsense. What on earth makes you say that? CONNIE SACHS -LRB- Surprised. -RRB- I do n't know. She turns to the shoe box beside her, takes out a PHOTOGRAPH. CONNIE SACHS -LRB- CONT'D. -RRB- Here we are. The Nursery in our day. She shows him the photograph - a young Connie in Wren uniform, young men in cricket whites on a mown lawn. More senior figures stand behind. CONNIE SACHS -LRB- CONT'D. -RRB- There's Control himself, you behind him, as usual. A younger bespectacled Smiley, lost amongst his more glamorous colleagues. She traces other faces with a crooked finger. CONNIE SACHS -LRB- CONT'D. -RRB- -LRB- Fondly. -RRB- Jim Prideaux. and Bill Haydon. Together of course. The Inseparables. All my boys. That was a good time, George. SMILEY -LRB- Chiding. -RRB- It was the war, Connie. CONNIE SACHS A real war. Englishmen could be proud then. She stares at the photograph with a sad smile. CONNIE SACHS -LRB- CONT'D. -RRB- I was right, then? About Polyakov. There's a mole? Smiley does n't answer, stands up to go. CONNIE SACHS -LRB- CONT'D. -RRB- If it's bad, do n't come back. I want to remember you all as you were.", "EXT. SAFE HOUSE - NIGHT The house we saw in the title sequence. The air duct opens on the front of the house, spilling out its star - shape of light. After a moment Polyakov walks up to the door and knocks. We hear the dog barking.", "INT. SAFE HOUSE - GROUND FLOOR - NIGHT Mrs McCraig opens the door for him and he passes her with a smile, heading upstairs. We TRACK with Mrs McCraig as she walks back to her pantry, opens a cupboard to reveal a huge reel to reel TAPE RECORDER. With ancient fingers she presses down the clunky record button and the spools begin to revolve. POLYAKOV -LRB- O.S. -RRB- -LRB- In Russian. -RRB-. The Priest is surprised to see General Secretary Krushchev.", "INT. SAFE HOUSE - MEETING ROOM - NIGHT As we saw it in the titles. The Mystery Man sits at the table holding up pages of a document for Polyakov who is photographing them as he talks, the camera giving a satisfying CLICK and WHIR with each shot. POLYAKOV He says `` Father, father, I've just had sex with two 17 year old girls.'' The Priest says `` That's quite a sin, but you're an Atheist, General Secretary.'' HIGH ANGLE - the dusty candelabra above their heads, and the tint MICROPHONE, nestled beside one of the bulbs. POLYAKOV -LRB- CONT'D. -RRB-''. why are you telling me?''", "INT. SAFE HOUSE - GROUND FLOOR - NIGHT spools churning silently. POLYAKOV -LRB- O.S. -RRB- Krushchev says `` I'm seventy - seven, I'm telling everyone.'' We hear his chuckle and the continued CLICK WHIR of the camera.", "INT. HOTEL ISLAY - SMILEY'S ROOM - NIGHT Smiley sits at his desk staring at the CHESS SET laid out before him. One of the pieces has had the photograph of POLYAKOV added to it. He begins to register the faint noises around him. Pigeons on the ledge outside the window, the television mast creaking on the roof above him. He hears footsteps approaching down the corridor and stop outside his room. He crosses to the door and opens it and finds CONTROL waiting for him. CONTROL Step into my lair. And in an instant we are in.", "INT. CIRCUS - CONFERENCE ROOM - DAY - PAST Control is at the HEAD OF THE TABLE. Ranged against him are PERCY ALLELINE, ROY BLAND and TOBY ESTERHASE - all a little nervous. BILL HAYDON sits to the side, feet up. Smiley joins them without his spectacles. Control throws him a FILE. CONTROL -LRB- To Smiley. -RRB- Sit down and take a look at this nonsense. Smiley sits down and begins to read. CONTROL -LRB- CONT'D. -RRB- Report by Soviet High Command on their recent naval exercises in the Black Sea. Just what the Admiralty have been begging us for some information on. SMILEY -LRB- Engrossed. -RRB- Where did you get it? CONTROL I did n't. Percy and his little cabal walked in with it. TOBY ESTERHASE -LRB- Protesting `` cabal''. -RRB- Control. CONTROL Shut up, Esterhase. Control waves him down. Smiley considers the report dispassionately. SMILEY If it's genuine it's gold - dust. -LRB- Beat. -RRB- But its topicality makes it suspect. Control turns to Alleline, with a mocking smile. CONTROL Smiley is suspicious, Percy. Smells a fake. SMILEY Where does it come from? What's the access? CONTROL Percy does n't feel like telling. Percy packs his pipe, enjoys the moment - the young lion challenging the old. PERCY ALLELINE A new secret source of mine. SMILEY But how could he possibly have access to? PERCY ALLELINE He has access to the most sensitive levels of policy making. Smiley stares at him, staggered. If it's true, this is the jackpot. Alleline enjoys his amazement, he leans over - points with bureaucratic pride to the FLAMES on the LETTER HEAD. PERCY ALLELINE -LRB- CONT'D. -RRB- We have named the operation `` Witchcraft.'' SMILEY -LRB- Faintly. -RRB- We? CONTROL Percy and his pals have bypassed us, Smiley. Gone straight to the Minister. Everyone's very excited. Percy's to be allowed to keep the identity of his new friend top secret. PERCY ALLELINE The Minister agrees with me that too many secrets are blown around here. Too much failure, too many scandals, too little solid intelligence! Control is still smiling but only now do we realise he is almost shaking with fury. CONTROL Luckily Percy's cabal has come to save us. PERCY ALLELINE -LRB- Bulldozing on. -RRB- It's all office politics here. ROY BLAND Percy does have a point, Control. We should be fighting communism, not each other. PERCY ALLELINE Meanwhile we're losing our reputation, our partners. CONTROL Your bloody Yanks! PERCY ALLELINE -LRB- Shouting. -RRB- And we've had enough! There's going to be changes, Smiley! Changes. Toby Esterhase finds his moment. TOBY ESTERHASE We need to decide if we're part of the past, or part of the future. CONTROL -LRB- Contemptuous. -RRB- I should have left you where I found you. ROY BLAND Control, if we could all just. CONTROL OUT! ALL OF YOU! Alleline, Bland and Esterhase leave. For a moment it looks as if Haydon will stay, but then he stands up, shaking his head and saunters out. SMILEY -LRB- Cautiously. -RRB- If Witchcraft is genuine. Now the others have left, Control seems to sag under the weight of some unnamed fear. He turns a haggard face to Smiley. CONTROL I do n't trust miracles. We hear a KNOCKING and find ourselves back in.", "INT. HOTEL ISLAY - SMILEY'S ROOM - DAY - PRESENT Mendel holds two mugs of tea in one hand, gives the agreed knock at Smiley's door again. After a moment a bleary Smiley opens the door and lets him in.", "INT. HOTEL ISLAY - SMILEY'S ROOM - DAY Mendel passes him the tea, takes in the desk piled high with papers. MENDEL -LRB- Of the tea. -RRB- Courtesy of Mrs P. You been up all night? Smiley sits down wearily, sips his tea. SMILEY Yes. Mendel notices one SLIP OF PAPER, sitting alone on the opposite side of the desk. MENDEL What's that? SMILEY Request for a thousand pound's in cash from the reptile fund. MENDEL What for? SMILEY For a Mister Ellis. MENDEL Who's Ellis? Smiley leans back, rubs his tired eyes. SMILEY It was one of Jim Prideaux's work names. MENDEL What's so strange about that then? SMILEY The date. Prideaux was killed in Hungary a year ago. October twenty first. So why was someone giving him a thousand pounds two months later? He takes another sip of tea, gazes at Mendel thoughtfully.", "EXT. THURSGOOD SCHOOL - PLAYING FIELDS - DAY Prideaux is running around the track, pounding along with his odd, loping stride. A group of BOYS watch him pass. One - SPIKELEY - mimics the run to the amusement of the others.", "INT. THURSGOOD SCHOOL - CLASSROOM - DAY A fire burns in the little grate. ROACH sits near the back of the class. The BOY behind slaps the back of his neck with a ruler. Roach flinches but does n't say anything. The Boy does it again. Prideaux drops a pile of books onto the desk of a boy - SPIKELY. PRIDEAUX Hand those out. He crosses to the board begins to write on it - JE M'APPELLE MONSIEUR ELL. Behind him Spikely hands out the books, continuing to walk like a HUNCHBACK. The class snigger. Prideaux hears but does n't turn, continues writing. Then from the CHIMNEY comes an unnerving SCRABBLING sound. A little soot falls. The sniggering fades out as all eyes turn nervously to the fire. what is that noise? Then, with a terrifying SCREECH, an OWL drops down into the grate, thrashes in the flames before flapping out into the class, its wings now ON FIRE, shrieking hideously, headed straight for Spikely who stands frozen in shock as the bird swoops towards his face. Then. somehow, Prideaux is THERE and grabs the burning bird from the air and in a second has it folded in on itself, NECK SNAPPED, and strides out of the room with it. The boys stare after their new teacher in SHOCKED SILENCE.", "EXT. THURSGOOD SCHOOL - PRIDEAUX'S CARAVAN - DAY Roach is hiding, spying down on the caravan below, where Prideaux sits in the doorway, massaging his raised shoulder, and drinking something from a green beaker. PRIDEAUX -LRB- After a moment. -RRB- Come down here. Frightened, Roach obeys, sliding down the dip to him. Prideaux examines him fiercely. Finally his face relaxes a little. PRIDEAUX -LRB- CONT'D. -RRB- -LRB- Identifying him. -RRB- Boy with the marble. ROACH Yes sir. PRIDEAUX Gave me a turn up there, parked on the horizon. Thought you were a Juju man. What's your name? BILL ROACH Sir, Roach, sir. Bill. I'm a new boy. PRIDEAUX New arrival, eh? Middle of year? What's the story? Roach hesitates. BILL ROACH -LRB- Blushing. -RRB- My mother and father. my father's left, so. He does n't know how to explain his misery any further. Prideaux pretends not to notice. PRIDEAUX Bill? The unpaid Bill. Anyone ever call you that? BILL ROACH No sir. PRIDEAUX Known a lot of Bills. They've all been good ` uns. What you good at? Roach tries desperately to think of something. BILL ROACH Nothing sir. The boy's eyes start to MIST UP. Prideaux looks down, busies himself with brushing at something on his shirt. PRIDEAUX You're a good watcher though eh? Us loners always are. No one else spotted me when I turned up here. Best watcher in the unit, Bill Roach is, I'll bet. Long as he's got his specs on. Right? BILL ROACH -LRB- Gratefully. -RRB- Yes sir. Prideaux finishes his drink, nods to Roach. PRIDEAUX Free period, is n't it? Do n't waste it down here. Roach sets off up the dip. He looks back and sees Prideaux has walked into the caravan and stands with his back to him, rubbing his aching shoulder.", "EXT. SMILEY'S HOUSE - DAY Smiley walks up to the steps of his home, stops, examining the door, his absent - minded air hardening into something more ALERT. He scans the step and stoops to pick something up. A WEDGE.", "INT. SMILEY'S HOUSE - DAY Smiley walks into the hallway senses alert. He pads towards the drawing room, wipes sweat from his hands on his trousers, steels himself. Is it finally Them, come for him? He walks in and finds.", "INT. SMILEY'S HOUSE - DAY RICKI TARR sits smoking in the darkness, the knife on his lap. RICKI TARR Hello Mister Smiley. You remember me. SMILEY Hello, Ricki. He tosses the wedge onto the table. SMILEY -LRB- CONT'D. -RRB- You missed a wedge. RICKI TARR Losing my touch. Smiley watches him closely, very aware of the knife. Tarr rubs his beard. RICKI TARR -LRB- CONT'D. -RRB- I know what I must look like. Rip Van Winkle. Feel like him. I could sleep for a year. Two years. SMILEY Where've you been, Ricki? RICKI TARR Here, there. Run out of places now. They're gon na kill me. SMILEY Who is? RICKI TARR Your lot. Or their lot. Whoever gets me first. I'm innocent, by the way. Within reason. -LRB- Beat. -RRB- You going to find him then? The Mole? Smiley crosses to another chair. As he does so he's scanning the room - automatically noting the changes - the remains of a meal on a table. SMILEY I'm going to try. How long have you been here? RICKI TARR Few days. Needed somewhere to hide. Smiley notices the pile of letters for his wife Ann - they've been disturbed. RICKI TARR -LRB- CONT'D. -RRB- -LRB- Following his gaze. -RRB- Old habits. Smiley fights down his anger. SMILEY I would n't use my home as a safe house. There's every chance they're watching it. RICKI TARR Calculated risk Mister Smiley. I wanted to see you, figured you'd turn up here sooner or later. SMILEY What do you want Ricki? RICKI TARR There's a woman. I want you to trade for her. Get her back from Karla. SMILEY What woman? Tarr finishes his cigarette, lights another. RICKI TARR Her name's Irina.", "EXT. ISTANBUL - AIRPORT - DAY - PAST Ricki Tarr emerges blinking into the white sunshine. Groomed, smart, that same restless energy. A car pulls up across the road TUFTY THESINGER - a boiled - looking British spy, not over - bright, signals to him. Tarr pulls his shades down and saunters over to his ride. RICKI TARR -LRB- O.S. -RRB- I met her in Istanbul. They'd found some Russian trade delegate, name of Boris. He was spending high and wide in the nightclubs and some idiot thought we could turn him. Tarr opens the back seat and gets in. Tufty's slightly foolish smile slips a little.", "INT. ISTANBUL - TARR'S APARTMENT - ENTRANCE LOBBY - DAY Tarr enters, followed by Tufty carrying one of his bags.", "INT. ISTANBUL - TARR'S APARTMENT - NIGHT Nineteenth century European grandeur. But the apartment we're in is deserted and in a state of disrepair. Tarr stands at tripod mounted BINOCULARS set back from the window, idly playing with a knife with a distinctive white BONE handle.", "EXT. ISTANBUL - IRINA'S HOTEL - NIGHT TARR'S P.O.V. - the HOTEL opposite - a Brutalist concrete slab, the rooms have floor to ceiling windows. In the bedroom a heavy set man - BORIS - is having sex with a MAID. RICKI TARR -LRB- V.O. -RRB- I took one look and saw that he was a hood, Moscow trained. We TRACK to one side, and see the `` drawing room'' of the hotel suite, where Boris' two MINDERS, SERGEI and IVAN, wait, smirking at the sounds coming from the bedroom. RICKI TARR -LRB- V.O. ; CONT'D. -RRB- Probably coat trailing, trying to draw one of our men out into the open. We TRACK further along again and see the CORRIDOR outside the hotel room, where a YOUNG WOMAN has just arrived. This is IRINA. RICKI TARR -LRB- V.O. ; CONT'D. -RRB- He had a wife with him. Common - law. Irina opens the door and walks into the drawing room, where the Minders stare fixedly at the floor, trying not to laugh. She walks on past and into the bedroom. The Maid jumps out of the bed, grabs her clothes and flees. Boris lies, unconcerned, reaches for his cigarettes. Irina walks past him and we track with her as she enters a BATHROOM. The glass window here is two - thirds frosted and we lose her as she bends over a basin. Something about her has caught Tarr's attention and he leaves the binoculars, walking closer to the window. Suddenly IRINA straightens up, her head above the frosted glass and stares straight at us.", "EXT. ISTANBUL - TARR'S APARTMENT - NIGHT HER P.O.V. - RICKI TARR standing at the window opposite, knowing he should turn away, but somehow snagged by that look. A moment between the two. Then a car sweeps past on the road below and there's a flash of light behind Ricki's head - the headlights reflected in the lenses of the now visible BINOCULARS. Irina absorbs this. Above everything else, anger at her humiliation being observed.", "EXT. ISTANBUL - IRINA'S HOTEL - NIGHT RICKI TARR'S P.O.V.. As Irina walks back out of the bathroom, picks up a vase and hurls it at Boris, just missing him. He stubs out his cigarette and calmly climbs out of the bed. As we watch he draws the curtains along the length of the room, obscuring our view. Seconds later the curtains billow as Irina is thrown against them. We watch as her shape is rolled along the window by the force of Boris' blows. Finally the billowing fabric settles. Moments later Boris opens the curtains again and starts to dress. Irina lies on the bed.", "EXT. ISTANBUL - IRINA'S HOTEL - NIGHT RICKI'S P.O.V. Ricki watches the street below as Boris, Sergei and Ivan exit the hotel, head for a night out. Tarr pulls on his own jacket, grabs his knife.", "EXT. ISTANBUL - NIGHT IRINA'S P.O.V. - Her husband and the Minders are heading for a row of gaudy nightclubs. And someway behind him, Ricki Tarr, trailing. She exhales a breath on the glass.", "EXT. ISTANBUL - NIGHT CLUB - NIGHT Tarr approaches the night club, glancing around quickly before slipping inside.", "INT. ISTANBUL - NIGHT CLUB - NIGHT Ricki Tarr enters. He scans the room for Boris, spotting Tufty Thesinger at a table. He crosses towards him, watching as Boris and the two minders are entertained by the clubs hostesses. Boris calls for more drinks, clutching a bundle of currency. TUFTY THESINGER -LRB- grinning. -RRB- This is going to be a long night. RICKI TARR You baby - sit this one. Ricki walks towards us.", "INT. ISTANBUL - IRINA'S HOTEL - NIGHT Irina answers the door and finds Ricki Tarr outside. RICKI TARR Your bloke's a bit of a bastard. -LRB- Beat. -RRB- Just wanted to check you were alright. She stares at him. RICKI TARR -LRB- V.O. ; CONT'D. -RRB- There was something about her.", "INT. SMILEY'S HOUSE - DAY - PRESENT Tarr exhales smoke. Smiley studies him. SMILEY You were due to fly home the next day. What did you tell London? RICKI TARR Nothing. Did n't have anything to tell yet. But. I could sense it in her. SMILEY Sense what? RICKI TARR A secret.", "INT. ISTANBUL - GARAGE - DAY - PAST Ricki Tarr is talking to a man. A sports car lies under a sheet. The deal concluded, the man pulls back the sheet to reveal the car.", "EXT. ISTANBUL - DOCKS - DAY Irina is driving, exhilarated, free. Ricki Tarr is on the back seat, sleeping.", "INT. ISTANBUL - WORKERS CANTEEN - DAY A workers canteen on the Bosphorus. Tarr and Irina sit drinking wine, talking. RICKI TARR -LRB- V.O. -RRB- I played the businessman, Michael Trench. A Holiday Romance. Thought I'd take my time with it. Tarr gently traces a bruise on Irina's arm. RICKI TARR -LRB- V.O. ; CONT'D. -RRB- But second date she made this open play. We see a growing attraction between them. Irina and Tarr laughing, flirting. They move closer to one another. Tarr feels he is the master of this situation. Suddenly Irina withdraws. She stares at him. IRINA I know what you are. A long beat. Tarr waits her out. IRINA -LRB- CONT'D. -RRB- I would like to talk to your boss Control. I have something to trade. Something big. I want a new life in the West. Tarr desperately tries to stay looking calm. IRINA -LRB- CONT'D. -RRB- That is the deal. You tell them.", "INT. SMILEY'S HOUSE - EVENING - PRESENT Smiley sits with his hooded, bored look, examining everything carefully. SMILEY What made you so sure she was n't coat - trailing? RICKI TARR We've all got our strengths. And weaknesses. He flicks a look at the pile of Ann's letter, an insolent smile. RICKI TARR -LRB- CONT'D. -RRB- Me, I know women. She said she had a secret. The mother of all secrets. Said she'd only tell Control. She wanted to trade. New life for her and her kids. SMILEY She had children in Russia? RICKI TARR That's why they let her and Boris out. So, I said I'd tell the Circus. SMILEY -LRB- Beat. -RRB- But you did n't? Tarr's smile fades.", "INT. ISTANBUL - TARR'S APARTMENT - DAY - PAST Irina prowls the room. RICKI TARR -LRB- V.O. -RRB- Wanted to find out more first. So, I waited her out. Tarr lounges by a window, smoking. RICKI TARR -LRB- CONT'D. -RRB- -LRB- Shrugging. -RRB- You ca n't expect them to jump at every offer of service. -LRB- Beat. Carefully. -RRB- If they had more information. Irina does n't answer, paces. Tarr lets his face harden. RICKI TARR -LRB- CONT'D. -RRB- Well, if you wo n't tell me more, there's nothing I can do. She stares at him. IRINA If I tell you, I'm putting my life in your hands. The lives of my children? Do you understand? She walks slowly towards him, bends over, begins to whisper in his ear.", "INT. ISTANBUL - TARR'S APARTMENT - NIGHT The two make love, passionate, Irina trying to bind him to her. Tarr responds, excited by her, now that she needs him. We intercut their intense love - making with.", "INT. ISTANBUL - NIGHT CLUB - NIGHT A drunk Boris groping a very young hostess on a dance floor, his shirt undone. He starts to strip the girl of her uniform, amused by her efforts to keep her clothes on. The two minders clap in time to the music, encouraging him. Boris grabs the girl by the hair, biting her neck, laughing, eyes glazed with drink, barely able to stand. The inane music blares on.", "INT. ISTANBUL - TARR'S APARTMENT - NIGHT Silence. Tarr and Irina stare at each other. A long beat. IRINA -LRB- tenderly. -RRB- Promise me you'll be careful. No details to the Circus. Not until we're safe. RICKI TARR -LRB- genuine. -RRB- I promise.", "EXT. ISTANBUL - DAY Tarr threads his way through the crowds of evening shoppers and tourists, holding in his head the BIGGEST SECRET of his career. There's something new on his face - AMBITION.", "EXT. ISTANBUL - IMPORT/EXPORT OFFICE - EVENING We're gliding above the respectable front of a Business OFFICE, through the RECEPTION - which maintains the cover story of an Import/Export outfit. over a back - room and through a STEEL DOOR to the CYPHER ROOM beyond where we find a drunk TUFTY THESINGER watching Tarr send a CODED MESSAGE. TUFTY THESINGER You were supposed to have gone. London stations's been on to me. They want to know what the hell you're doing. RICKI TARR -LRB- without turning. -RRB- Fuck off.", "INT. SMILEY'S HOUSE - NIGHT - PRESENT Smiley takes off his glasses and wipes them. SMILEY And what did your message say, Ricki? RICKI TARR Just that I had a Moscow Centre trained hood wanting to defect. SMILEY What else? Tarr looks at him. For the first time there's something else behind his smile. SMILEY -LRB- CONT'D. -RRB- I understand how you felt. You wanted to do something. RICKI TARR I know what I am to the Circus. One of the scalp - hunters. Someone to give the dirty jobs to. I wanted to bring this one in myself. SMILEY Yes. I quite see that. RICKI TARR I said that she claimed to have information crucial to the well - being of the Circus. SMILEY -LRB- O.S. -RRB- And what else? RICKI TARR That she had information concerning a Double Agent. He colours. RICKI TARR -LRB- CONT'D. -RRB- I was just trying to. to get the proper attention. -LRB- Beat. -RRB- And I told them to tell Mister Guillam that this was the reason I had n't come home, not because I'd defected or anything. SMILEY What happened next Ricki? RICKI TARR I waited for a reply.", "INT. ISTANBUL - IMPORT/EXPORT OFFICE - NIGHT - PAST A tense Tarr sits waiting for a reply. It's dark outside. Thesinger is asleep at his desk. The TICKER MACHINE begins to rattle into life. Tarr jumps to it. Tarr begins to decode the in - coming message on a one - time pad. INSERT - `` We read you'' RICKI TARR -LRB- V.O. -RRB- I waited hours but that was all they sent. It did n't make sense. Like they were stalling.", "EXT. ISTANBUL - TARR'S APARTMENT - NIGHT Tarr stands staring across at Irina's hotel balcony with binoculars.", "EXT. ISTANBUL - IRINA'S HOTEL - NIGHT BORIS stands looking straight at him. The hint of a mocking smile. Behind him we can just see SERGEI and IVAN sitting in the room.", "INT. ISTANBUL - IRINA'S HOTEL - NIGHT Boris turns from the balcony, exhaling smoke from a cigarette, the faint smile still on his lips. He looks up, his expression CHANGING.", "EXT. ISTANBUL - ALLEYWAY - DAWN Tarr bolts down an alleyway.", "INT. ISTANBUL - IMPORT/EXPORT OFFICE - DAY The door is ajar. a radio is playing LOUD POP MUSIC. Tarr pauses on the threshold, senses alert. He takes out his KNIFE.", "INT. ISTANBUL - IMPORT/EXPORT OFFICE - DAY A fan stirs the dusty air. Tarr walks in and stops. Tufty lies on the floor, in a pool of blood. He's been tortured, one eye gouged out. The other manages to convey a rather touching amazement at the violence worked on him. His throat has been slit wide open. Tarr absorbs this, looks at the knife in his own hand, turns and runs.", "INT. ISTANBUL - WORKERS CANTEEN - DAY A desperate Tarr hurries towards a phone.", "INT. ISTANBUL - IRINA'S HOTEL - DAY P.O.V. - BATHROOM THROUGH THE HALF - OPEN DOOR - Irina enters the hotel room. She stops a moment, afraid. Then she looks towards us. BATHROOM Irina is backing out of the room. We catch a glimpse of the BUTCHERED REMAINS of BORIS hanging from the shower rail, a garroting wire around his neck. He's been tortured, the shower curtain used to catch the pooling blood. She BACKS AWAY across the room to the door, leaving a trail of bloody footprints on the pale carpet. She turns to the door, looks out of the SPY HOLE. Her P.O.V. - two men, TINY DISTORTED FIGURES walking down the corridor towards her. The phone starts to RING. Irina glances at it, knowing it's too late for her. SPY - HOLE - The TWO FIGURES loom closer.", "INT. ISTANBUL - PORT AUTHORITY - DAY P.O.V. - Crowds of people throng the busy port. A paranoid Ricki watches from the back of the hall. He notices a child react to something - follows his gaze. TARR'S P.O.V. - behind glass panels - a glimpse of three men wheeling a gurney - a bandaged figure upon it. Just before the figure disappears, a hand moves a little. Tarr watches Irina's departure, sick with guilt.", "INT. SMILEY'S HOUSE - NIGHT - PRESENT Tarr picks at a loose thread on his cuff, mind still back there. RICKI TARR They put her on a ship. That's all I know. I've done a lot of things Mister Smiley, but. I do n't know why. I keep thinking about her. -LRB- Beat. -RRB- He smiles, almost bewildered by his own feelings. RICKI TARR -LRB- CONT'D. -RRB- She was n't even my type. -LRB- Beat. -RRB- I want to get her out. I owe her that. He stands up abruptly, heading for the door. SMILEY Where are you going Ricki? You said yourself, Karla will be looking for you. I can take you somewhere. Keep you safe. Tarr's face twists with mirth. RICKI TARR Who's going to keep you safe?", "INT. CIRCUS - LIFT SHAFT - DAY We are peering down the lift shaft as new secrets are winched towards us.", "INT. CIRCUS - CONFERENCE ROOM - DAY Alleline sits in his baronial chair, alone in the room. He looks what he is. A man who knows he's OUT OF HIS DEPTH. Across from him the SAFE stands, an almost malignant presence. Alleline stares at it, a light film of sweat on his forehead.", "INT. SQUASH CLUB - EVENING A dark warren of corridors and glassed SQUASH COURTS somewhere under - ground. Alleline walks along the courts, new racquet in hand, uncomfortable in his too - tight white shorts. He reaches a court. Inside LACON and the MINISTER are playing a furious game of squash.", "INT. SQUASH CLUB - EVENING The three men stand talking within the transparent cube of the court. Lacon and the Minister are still sweating from their game. The Minister is smoking. OLIVER LACON Percy has always resisted suggestions of wider exploitation of Witchcraft's intelligence. MINISTER Drop the bloody jargon, Lacon. PERCY ALLELINE I've refused to share Witchcraft with our allies, so far, Minister. MINISTER Greedy boy. PERCY ALLELINE My goal has been to establish his track record beyond all doubt. I think the time has come to approach our American brothers - in - arms. The Minister considers this with some excitement, takes a drag on his cigarette. MINISTER You think they'll take us back into bed? PERCY ALLELINE I'm not interested in a one - off trade. I want on - going access to American intelligence. This stops the Minister. He turns to face Alleline. MINISTER Do you think we can get it? Alleline senses he has just risen several rungs. He slashes inexpertly with his racquet. PERCY ALLELINE With Witchcraft on our side, I think we can get anything we bloody - well want.", "EXT. HAMPSTEAD PONDS - DAY Smiley swims in the placid water. We hear music. The tinkle of glasses from a happy Christmas party. CONTROL -LRB- O.S. -RRB- -LRB- mock out - rage. -RRB- Percy?", "INT. CIRCUS - FIFTH FLOOR PARTY - NIGHT - PAST - And we are back in the Circus. We find Control - arm outstretched, finger pointing. CONTROL Percy. Did you do this? A Christmas Party of the past. Control, at the height of his powers, a punch glass in hand. Noise and music : the normally earnest atmosphere of the Circus released in an unexpectedly boisterous gathering. CONTROL -LRB- CONT'D. -RRB- You penny pinching Scot. Can you not take a bloody order. No one is to tamper with the recipe. It's going to take us five hours to get drunk on this piss water. Alleline tries to smile. PERCY ALLELINE I followed the recipe. He glances nervously at his wife, a vivacious alcoholic, just beginning to make a show of herself. She puts a CROWN - SHAPED party hat from the cracker onto Alleline's head. He brushes it off, anxious not to appear the fool. PERCY ALLELINE -LRB- CONT'D. -RRB- -LRB- Muttering. -RRB- For God's sake Mary. BILL HAYDON, wearing a crown from the cracker at a rakish angle, appears in the nick of time, leads Alleline's wife out for a dance, teasing the sullenness from her. They're good dancers. Alleline relieved, crisis averted.", "INT. CIRCUS - FIFTH FLOOR PARTY - NIGHT We find Smiley trapped in a conversation with an earnestly drunk deb. Control raises his arm above the melee. He's still at the punch bowl. CONTROL Smiley? Where's Ann? Get me a lady of taste? Ann will sort it out. SMILEY -LRB- grateful to get away from the deb. -RRB- I'll go find her. Smiley threads his way through the party, walking amongst his colleagues, enjoying himself. Jerry Westerby and Connie Sachs are arm in arm, singing along to a song - `` The Second Worst Spy in the World.'' They link Smiley to them for a verse, others joining in around them. The song segues into the Russian National Anthem. The crowd sing lustily, many of them Russian - speaking, enjoying the chance to sing with vigour. Smiley walks on. Behind him the song ends to be replaced by the CHARLIE RICH song we heard earlier. His P.O.V. - One of the larger Mothers doubled up with laughter, pulling a cracker with a flushed TOBY ESTERHASE, hopelessly outweighed, but competitive to the finish. - ROY BLAND with his plain wife, eyeing one of the pretty debs as she dances by. A mother takes Smiley by the hand and leads him briefly into the dance. Smiley takes a turn with her, and extricates himself. Still smiling.", "INT. CIRCUS - FIFTH FLOOR PARTY - CORRIDOR - NIGHT he walks down a dark corridor, the noise of the party fading away behind him. He stops seeing something in the shadows of an office. For a moment he does n't understand what he's seen. REVERSE Two shapes locked in an embrace. Smiley stands, nakedly absorbing the body blow. Then he turns and walks back to the heat and noise of the party.", "EXT. HAMPSTEAD PONDS - DAY - PRESENT Smiley and Guillam sit on a bench. Smiley has his towel, hair wet from his swim. PETER GUILLAM You look tired. Smiley considers telling Guillam about Tarr's visit, but an instinct for secrecy wins out. SMILEY Yes. I did n't sleep well. -LRB- Beat. -RRB- I want you to get something for me, Peter. I need the duty officer's log book for last November. I'm sorry, but I'm going to have to send you up a floor, into the Lion's den. -LRB- Beat. -RRB- If you have the slightest reservation. PETER GUILLAM Is feeling sick to your stomach a slight reservation? SMILEY If you're caught, Peter, you ca n't mention me. I'm sorry, but you're alone. Guillam nods. He gets up and walks quickly away. After a moment a MAN rises from a nearby bench and saunters over. It's Mendel. MENDEL You're clean. Nothing on your back. Nothing on your conscience.", "EXT. CIRCUS - MORNING A LORRY roars past, wiping frame and revealing Guillam arriving at the circus, carrying his briefcase. He springs up the four steps.", "INT. CIRCUS - GROUND-FLOOR LOBBY - DAY Guillam is at the security gate at the dingy lobby. The security guard, Bryant, steps from his box. Beyond him is the row of lifts. BRYANT Mister Guillam? How's the family? PETER GUILLAM Fine, Bryant. Up to Registry today. BRYANT Okay sir. Yellow one for the bag sir. Bryant stamps a PINK chit and hands it to Guillam, pulling open the lift cage. He gives him a yellow slip for the bag. Guillam climbs inside and begins to ascend, rattlingly slowly. As Bryant's head disappears. PETER GUILLAM Time you oiled this thing, is n't it? BRYANT -LRB- O.S. -RRB- We keep asking. Guillam examines the chit. He wipes his hands. For the first time we realize how NERVOUS he is. Polished shoes appear as they reach the floor, then the uniform trousers of a short man. A self - important JANITOR. Guillam steps out and the Janitor checks Guillam's pink and yellow chit and motions him through a turnstile. Then he stops him short. He gestures for Guillam to raise his arms. PETER GUILLAM You're kidding? JANITOR PETE New rules. Guillam is briskly frisked. PETER GUILLAM Mind the jewels. JANITOR PETE Pen and watch sir. He holds up a box and Guillam hands him his fountain pen and watch. The search over Guillam sets off down the corridor, unnerved by the task ahead - betraying his own kind. BILL HAYDON -LRB- O.S. -RRB- What the hell are you doing up here? Guillam freezes. Then he turns. It's Bill Haydon standing in a doorway, frowning at him over his spectacles. A moment. PETER GUILLAM You do n't look pleased to see me, Bill? BILL HAYDON Why would I be? You bloody pariah. Then Bill grins, the grin transforming his face. Guillam smiles back, relief mixing with real warmth. BILL HAYDON -LRB- CONT'D. -RRB- We like the Scalp - hunters to know their place. On the second floor. PETER GUILLAM Doing some research. Makes a change from sitting on my arse. BILL HAYDON Heard it was quiet down there. PETER GUILLAM As the grave. When're you going to give us something to do? BILL HAYDON Have n't you heard? Technology's the future. No need for you apes anymore. I can get you a posting to Northern Ireland if that helps get the blood racing. PETER GUILLAM Thanks anyway. Stick to sitting on my arse. They've reached the end of the corridor. Haydon peels away, a hand raised in farewell.", "INT. CIRCUS - READING ROOM - DAY Guillam arrives at a counter which serves to block entry to the vast archive of files beyond. A Janitor appears in the entrance. He pushes a book towards Guillam to sign. JANITOR ALWYN -LRB- re : Guillam's bag. -RRB- Want me to look after that for you, Mister Guillam? PETER GUILLAM Thanks. JANITOR ALWYN Got ta give you a chit. The Dolphin'll kill me if I do n't. New Rules. PETER GUILLAM So, chit me. The Janitor grins, slaps a chit on the bag, raises the counter and Guillam enters.", "INT. CIRCUS - READING ROOM - DAY A few researchers sit amongst stacks of files. Guillam is filling out requisition slips. Behind the desk, a woman - SAL - watches him. SAL What you up to this weekend? PETER GUILLAM -LRB- rakish. -RRB- Visiting aunts. SAL I'll bet. She takes the flimsy's from the back of the slips and posts them into her desk. SAL -LRB- CONT'D. -RRB- Corridor D. She hands him back the top copies. SAL -LRB- CONT'D. -RRB- The two - eights are halfway on your right, the three - ones are next alcove down.", "EXT. GARAGE - DAY Mendel sits in his car, watching the garage fore - court. He looks at his watch.", "INT. CIRCUS - ARCHIVE - DAY The LIFT CAGE we saw earlier is being raised from the floor by a Janitor at the winch. Another janitor is removing files from it. Radiating out from the lift cage are the shelves of files that make up the reading room. We find Guillam moving along the shelves reading the fluorescent number cards. He takes a file out, leaving his green slip in the brackets provided by each file. Guillam looks across at his real objective. A row of anonymous looking files on the next aisle - the archived DUTY OFFICER'S LOG - BOOKS, spines bearing the year and month they cover. And in his way - a GIRL perched on a ladder, a MAN mending a radiator. The Man turns round and stares straight at Guillam. Suddenly he POINTS STRAIGHT AT HIM. For a moment Guillam freezes, unnerved. Then he glances over his shoulder and realises the Man is communicating with another WORKMAN behind him. Abruptly, Guillam walks over to the file and swaps it, keeping the title close to his chest. He goes back to his desk, a light film of sweat on his forehead. He sits, a pencil clamped between his teeth, waiting. From somewhere nearby comes the sound of a PHONE RINGING, then being answered. Moments later. JANITOR ALWYN -LRB- To Guillam. -RRB- Telephone sir. PETER GUILLAM -LRB- as though distracted. -RRB- Oh to hell, who is it? JANITOR ALWYN Outside line, sir. Someone rough. The garage, I think, regarding your car. Guillam walks over to the counter, the stolen file hugged to his chest. A LOCKED BOX on a trolley is wheeled towards him and is opened to reveal the OUTSIDE LINE TELEPHONE. PETER GUILLAM -LRB- into the phone. -RRB- Hello? -LRB- Beat. -RRB- Well, damn. Ca n't you do the bloody repair?", "EXT. GARAGE - DAY Mendel is using the office phone, an ELDERLY GERMAN MECHANIC, stands outside guarding the office door. In the background a POP TUNE is playing on the radio. MENDEL Ca n't be done sir, you're going to need a new gear box.", "INT. CIRCUS - READING ROOM - DAY On Guillam. PETER GUILLAM At least get on to the main dealers first.", "INT. CIRCUS - MONITOR ROOM - DAY One of the Mothers is listening routinely in on the call, TAPE SPOOLS revolving, recording the conversation. The POP TUNE plays, insidiously working its way into her head. She idly taps her pen along to the tune. PETER GUILLAM -LRB- O.S. -RRB- Have you got the number?", "INT. CIRCUS - READING ROOM - DAY PETER GUILLAM Well, hold on. He cups his hand over the mouthpiece. PETER GUILLAM -LRB- CONT'D. -RRB- Alwyn? Chuck me the bag a minute, will you? Alwyn gets Guillam's bag and brings it over to him. PETER GUILLAM -LRB- CONT'D. -RRB- Thanks. Alwyn goes back to his post. Guillam, still hugging the phone, takes out a BEIGE file from his bag and switches it with the one against his chest. He takes an address book from the bag and finds a number. PETER GUILLAM -LRB- CONT'D. -RRB- -LRB- Into phone. -RRB- 946 - 0335. OK? Thanks. He hangs up, hands the bag back to Alwyn and steps back into.", "INT. CIRCUS - READING ROOM - DAY Guillam retraces his steps, placing his dummy file in the pink stack, replacing the one he placed there in its original shelf, remembering to take the green slip from the bracket. It's done. Guillam takes the green slip and hands it to Sal, who signs it and puts it on its spike. Guillam turns. TOBY ESTERHASE is standing in front of him. Unfriendly eyes. TOBY ESTERHASE Could we see you Peter? For a second Guillam ca n't speak. TOBY ESTERHASE -LRB- CONT'D. -RRB- Percy would like quite an urgent word with you. Can you come now to the fifth floor? That would be so kind. PETER GUILLAM Of course. Esterhase turns and Guillam, mind whirring, follows him back out through the counter. PETER GUILLAM -LRB- CONT'D. -RRB- -LRB- to Alwyn, inspired. -RRB- You might just throw that into the lift for me, mark it for the second floor, save me filling out more bloody chits? JANITOR ALWYN Will do sir.", "INT. CIRCUS - FIFTH FLOOR - OUTSIDE ALLELINE'S OFFICE - DAY The Mothers sit over their typewriters as Guillam and Esterhase walk through into the anteroom. PERCY ALLELINE -LRB- O.S. -RRB- -LRB- shouting from the other room. -RRB- Esterhase, I'll have no phone calls, tell them. TOBY ESTERHASE The Chief will take no calls, please, ladies. MOTHER -LRB- Muttering. -RRB- We can hear. Toby holds the door open for Guillam. TOBY ESTERHASE We are having a conference.", "INT. CIRCUS - CONFERENCE ROOM - DAY Alleline sits in the baronial chair, Bland at his left. Haydon on his right. Esterhase trots over to his seat. Guillam takes in the REPORT they all seem to have spread out in front of them. PERCY ALLELINE -LRB- Reading. -RRB- Well now young Peter Guillam, are you ready for me finally? Guillam, affecting ease, leans against the wall. PERCY ALLELINE -LRB- CONT'D. -RRB- What are you getting up to down there these days, apart from chasing our virgins. Guillam catches a smirk from Esterhase - mocking him? PETER GUILLAM Couple of Arab ploys look quite promising. Other than that, getting quite good at ping - pong. PERCY ALLELINE Arabs. You can rent one but you ca n't buy one. Right Bill? He looks up from the report. Here it comes. PERCY ALLELINE -LRB- CONT'D. -RRB- How's Ricki Tarr these days? PETER GUILLAM -LRB- Not missing a beat. -RRB- Fine. We have tea at Fortnum's every afternoon. PERCY ALLELINE I require the matter of your discussion with Tarr. Guillam shrugs. PETER GUILLAM I'll tell him. He'll be thrilled. Alleline lets the silence build, rather like a bad actor. Everyone is staring at Guillam. PERCY ALLELINE -LRB- Quietly. -RRB- What's that shrug for? He SLAMS a hand on the desk, tea - cups rattling, a sudden roar. PERCY ALLELINE -LRB- CONT'D. -RRB- I'm talking to you about a murderer. I'm talking to you about a defector from your own damn section! I'm accusing you of consorting with an enemy agent behind my back! Do n't damn well shrug at me! How'd you like a term in prison? Guillam's own temper comes to his rescue. PETER GUILLAM But I have n't been seeing him! So get your facts straight and get OFF MY BACK! A moment, while the room digests this. A relaxation of the tension, as if he's passed some kind of test. PERCY ALLELINE So if I told you that Tarr had recently arrived in Paris would you be surprised? PETER GUILLAM Nothing would surprise me about Tarr. PERCY ALLELINE And if I told you we happen to know that thirty thousand pounds mysteriously appeared in his bank account last month, would that surprise you? This DOES shock Guillam, but he manages to hold on to his sullen expression. PERCY ALLELINE -LRB- CONT'D. -RRB- Your man's a defector, Guillam. Got turned by the opposition months ago and now they've sent him back to us! PETER GUILLAM What for? PERCY ALLELINE Never mind what for! To muddy the water, that's what for! Spread a whole lot of damn nonsense to get us chasing our tails! The point is this - he's heading for home. The first peep from him you come to the grown - ups, understood? Anyone you see at this table. But not another damn soul!", "INT. CIRCUS - CORRIDOR - DAY Guillam is walking to the lifts, we note he is now carrying his BAG. Behind him ROY BLAND is walking down the corridor. He peels off, turning left, humming a tune to himself - the same POP SONG that was playing at the garage in the background of Guillam's call. Guillam reacts as he keeps on walking, trying to work out if this MEANS SOMETHING. We track with him as his anger and PARANOIA grow.", "EXT. GARAGE - DAY Guillam drives down an alleyway full speed, screeches to a halt as he reaches a group of children playing, edges past them and on into the car body repair shop. He gets and strides past the elderly GERMAN MECHANIC we saw earlier. MECHANIC -LRB- German, subtitled. -RRB- He's waiting for you. Guillam strides on, nerves at snapping point, to the other end of the workshop where a Vauxhall waits. Behind him the Mechanic and his SON are already beginning to strip the plates off Guillam's car.", "EXT. GARAGE - DAY Mendel appears by Guillam's side as they walk towards another waiting car, Guillam simmering with rage. MENDEL -LRB- A faint smile. -RRB- All go smoothly did it? -LRB- Beat. -RRB- Where we off to? PETER GUILLAM The hotel. I have to see George. MENDEL Mister Smiley is n't at the hotel, sir. Change of venue.", "INT. CONTROL'S FLAT - DAY Tarr sits in Control's green velvet armchair watching TV. There's a large tape recorder on the table behind him. We hear the door to the flat opening. PETER GUILLAM -LRB- O.S. -RRB- George? Guillam hurries into the room, stops, seeing Tarr. Tarr gives his sunny grin but he's sweating, his eyes full of tension. TARR Hello, Mister Guillam, sorry I took so long to come back. Guillam punches him in the face, drags him from the chair, the two struggling. Behind them Smiley and Fawn appear. Smiley watches coolly for a moment then signals Fawn, who drags Guillam off Tarr, expertly pinning his arm. FAWN Excuse me, sir. Guillam pulls free angrily. SMILEY Ricki's been helping us Peter. -LRB- Indicating TAPE DECK. -RRB- He's been telling us all about his adventures. PETER GUILLAM -LRB- To Smiley. -RRB- He's a double, George! There is no Mole! The whole thing's a pack of lies thought up by Moscow. Karla's bought him for thirty thousand pounds! He pulls the LOG BOOK out of his file. PETER GUILLAM -LRB- CONT'D. -RRB- -LRB- To Tarr. -RRB- I stole that, because of you! I spied on my own. Do you know how that makes me feel? Smiley holds out his hand for the log book. SMILEY As you did take the trouble to steal it. Guillam hands him the book and Smiley leafs through the pages. SMILEY -LRB- CONT'D. -RRB- Ricki, you said you sent the Circus a telegram concerning Irina's information? Tarr sits up, wiping blood from his mouth. RICKI TARR -LRB- Sullenly. -RRB- S'right. SMILEY What was the date? Tarr hesitates, considering. PETER GUILLAM He does n't know because there was no telegram! The whole thing. RICKI TARR November 20th. It would have been November 20th. Evening. Smiley has found the right month. He flicks through the dated pages - 18th November, 19th November. He holds up the book - the next page has been cut out. SMILEY November 20th is missing. -LRB- Beat. -RRB- Someone is covering their tracks Peter. Unless you think that's just a coincidence? Guillam looks thrown. PETER GUILLAM What about the money? SMILEY Thirty thousand is n't so much for Karla to pay if it protects his Mole. I'm afraid someone in the Circus knows all about Mister Tarr and is doing everything they can to discredit him. Guillam takes the log book from Smiley, runs a thumb down the razored edge of the missing page. He notices some writing on the next page. PETER GUILLAM -LRB- Reading. -RRB- `` Enquiries to the fifth floor.'' Smiley takes the book again, examines the note. SMILEY You recognize that handwriting? -LRB- Beat. -RRB- That's Toby Esterhase.", "EXT. HOTEL ISLAY - EVENING Smiley and Guillam pull up in front of the hotel. They sit, in weary silence, staring up at the unprepossessing building. PETER GUILLAM Why did n't you tell me? That you had Tarr? Smiley looks at him. Guillam reads the look correctly. PETER GUILLAM -LRB- CONT'D. -RRB- In case I did n't make it out of the Circus. SMILEY Secrecy is a habit. Guillam rubs his eyes. PETER GUILLAM I should get some rest. And I suppose you should get your reading done. Smiley nods. Does n't move.", "INT. HOTEL ISLAY - SMILEY'S ROOM - NIGHT The two men are finishing off a bottle of Scotch. Unusually, Smiley is drunk - a result of the alcohol and the lack of sleep. Guillam lies on one of the single beds, staring at the PHOTOGRAPHS of the four suspects Smiley has pinned on his chessmen. PETER GUILLAM I'm sorry. SMILEY What for? PETER GUILLAM I wanted to believe Tarr was lying. -LRB- Beat. -RRB- All this time, thinking I'm fighting a war. It's a sham. Karla won years ago and we did n't even know it. Smiley watches Guillam, estimating how badly all of this is affecting him. SMILEY -LRB- Beat. -RRB- I met him once. Karla. In fifty - five. Moscow Centre was in pieces. Purge after purge. Half their Agents were jumping ship and I travelled around signing them up. Hundreds of them. Guillam raises himself up on an elbow, listening. SMILEY -LRB- CONT'D. -RRB- One of them was calling himself Gerstmann. He was on his way back to Russia, and we were pretty sure he was going to be executed. Plane had a twenty - four lay over at Delhi, and that's how long I had to convince him to come over to us instead of going home to die. Smiley stares at the room around, projecting his memory of the Delhi cell onto their present surroundings. SMILEY -LRB- CONT'D. -RRB- Little room. I'm sitting here. he's sitting there. He points to an EMPTY CHAIR in front of him. SMILEY -LRB- CONT'D. -RRB- The Americans have had him tortured. He holds up his right hand. SMILEY -LRB- CONT'D. -RRB- No fingernails. It's incredibly hot. I'm very tired and all I want to do is get this over with and get back home. Things were n't going well with Ann. Guillam flinches a little, but Smiley does n't notice, lost now in the past. SMILEY -LRB- CONT'D. -RRB- I give him the usual pitch. Come to the West and we can give you a comfortable life. After questioning. Or you can catch your plane and fly home and be shot, like Bykov, Shur, Muranov. He stares at the CHAIR as if expecting an answer, and slightly drunkenly Guillam finds himself turning to the CHAIR for a response. PETER GUILLAM -LRB- Beat. -RRB- What did he say? Smiley does n't answer - STARES AT THE CHAIR - the silence stretching - it's all becoming a little surreal. SMILEY -LRB- To the chair. -RRB- Think of your wife. You have a wife, do n't you? I brought you some cigarettes, by the way. He mimes placing cigarettes on an invisible table, between him and the chair. SMILEY -LRB- CONT'D. -RRB- Use my lighter. He mimes placing the lighter beside the cigarettes. SMILEY -LRB- CONT'D. -RRB- `` We could arrange for her to join you, we have a lot of stock to trade. If you go back, she'll be ostracised. Think of her. Think about how much she.'' He breaks off in sudden impatience with himself. SMILEY -LRB- CONT'D. -RRB- Kept harping on about the damn wife! Telling him more about me, than. Should have walked out, of course, but for some reason. it seemed important to save this one. -LRB- Beat. -RRB- So I go on. `` Know you're a chain - smoker, help yourself,'' `` We're not so very different you and I.'' He makes a vague `` Etcetera'' gesture, stares at. THE EMPTY CHAIR. something unsettling about it, as if somehow it is acquiring the GHOSTLY PRESENCE OF KARLA. SMILEY -LRB- CONT'D. -RRB- -LRB- To the chair. -RRB- Look, we've both spent our lives looking for the weaknesses in one another's systems. Do n't you think it's time to recognise there is as little worth on your side as there is on mine? Silence. Smiley sits back, dropping the game. SMILEY -LRB- CONT'D. -RRB- Never said a word. Not one word. Next morning he got back on his plane, gave the pack of cigarettes back to me, untouched - this was a chain - smoker, mind - and flew off to what he presumed would be his death. He kept my lighter. It was a gift - `` To George, from Ann. All my love.'' Guillam is still staring at the chair, a little awe - struck. PETER GUILLAM That was Karla? And he flew back to die rather than give in? SMILEY Yes. -LRB- Beat. -RRB- And that's how I know he can be beaten. Because he's a fanatic. And the fanatic is always concealing a secret doubt. PETER GUILLAM What did he look like? SMILEY That's the thing. -LRB- Beat. -RRB- I ca n't remember. He stands up, crosses to the window, embarrassed by what he has to say next. SMILEY -LRB- CONT'D. -RRB- After today, Peter you have to assume they're watching you. If there's anything you need tidied up. now's the time. Guillam stares at him, realising what he's talking about.", "INT. GUILLAM'S FLAT - NIGHT Guillam and his boyfriend RICHARD sit at the table, Richard working his way through a stack of essays. Guillam stares at him. RICHARD -LRB- without looking up. -RRB- Nearly done. He scores a red line down a piece of work. RICHARD -LRB- CONT'D. -RRB- -LRB- to himself. -RRB- For Godsakes. I think they're all sharing the same moronic brain. He notices the way Guillam is staring at him and his smile fades. RICHARD, bewildered and upset, is packing his belongings. He walks past Guillam, stops. RICHARD -LRB- CONT'D. -RRB- -LRB- With dignity. -RRB- If there's someone else, you can tell me. I'm a grown - up. Guillam does n't say anything. Richard puts the flat keys on the side table and leaves. Guillam, stares after his one time lover, heart - broken.", "EXT. THURSGOOD SCHOOL - DAY Prideaux's BLUE ALVIS bumps and jolts towards us across the playing fields, an exhilarated ROACH at the wheel. ROACH -LRB- Braking. -RRB- Time sir? Prideaux and the rest of the class stand at the `` finishing line,'' but Prideaux is staring down to a line of beech - trees, where a MAN is walking. It's MENDEL. PRIDEAUX -LRB- Quietly. -RRB- Got your specs on Jumbo? ROACH Yes, sir. PRIDEAUX Who's the fellow down there? Roach stares at the stranger eagerly. ROACH -LRB- Disappointed. -RRB- Do n't know sir. PRIDEAUX Who is he? Beggarman? Thief? Why does n't he look this way? Would n't you look if you saw a bunch of boys flogging a car around a field? Does n't he like boys? Anyone sees him again, let me know. Do n't hold with odd bods hanging about. Might steal the Alvis, which is? CLASS -LRB- By rote. -RRB- Best car in England! They dissolve into laughter, but Roach is still anxiously watching Prideaux, noting how his expression has darkened.", "INT. CIRCUS - SCALPHUNTERS - POOL TABLE - DAY Belinda, the deb we met earlier, is doing up her blouse. She's teary and also a little excited that men are fighting over her. BELINDA Stop it! Stop it! KASPAR has Guillam pinned against the wall and is punching him. Guillam accepts the blows with a bloody grin. Something of the school yard fight about it, as the other Scalphunters gather around, ostensibly to break it, up but clearly enjoying the distraction. One of them is trying to pull Kaspar off and, caught by a blow, joins in - the fight escalating as others join in the struggle. KASPAR Keep your bloody hands off her! He kicks at Guillam, who falls. Belinda gives a shriek of alarm. SCALPHUNTER Christ's sake, do n't fight over a bit of skirt! Guillam lies on the floor taking another kick, but his face, turned to us, registers only relief. Job done.", "EXT. CASINO - DAY Bright morning sunshine. Smiley and Guillam walk up concrete steps of a casino building - very modern, imposing. MAN'S VOICE -LRB- O.S. -RRB- Have n't seen many of the boys and girls for a while, matter of fact.", "INT. CASINO - CASINO FLOOR - DAY Smiley, Guillam and the genial JERRY WESTERBY are sat at a blackjack table. The casino is empty, a cleaner vacuums in the background. JERRY WESTERBY But that's the way it is, George, is n't it? When you're out, you're out. Too much of this stuff. He points to a drink on the table before him. JERRY WESTERBY -LRB- CONT'D. -RRB- -LRB- An old joke between them. -RRB- Too much wampum not good for braves. How. SMILEY -LRB- Obliging. -RRB- How. -LRB- Beat. -RRB- I need to talk to you about the night Jim Prideaux was killed, Jerry. You were duty officer, were n't you? Westerby looks at them both. JERRY WESTERBY Yes. Control asked me to man the phones that night. Said someone was doing a special job for the service. He wanted someone from outside he could trust. If anything came in, I was to tell him and only him.", "INT. CIRCUS - EVENING - PAST Westerby walks down the corridor. We pass OFFICES - drawers pulled open, waste paper bins standing on desks - the end of day ritual.", "INT. CIRCUS - DUTY OFFICERS ROOM - NIGHT Westerby is following a horse race on the radio. A dirty plate in front of him. He drinks from a can of beer.", "INT. CIRCUS - DUTY OFFICERS ROOM - NIGHT Westerby is asleep. The Circus is deathly quiet, nothing stirring. Then. A PHONE BEGINS TO RING.", "INT. CIRCUS - CONTROL'S OFFICE - NIGHT Control sits surrounded by files. A dim green lamp on his desk the only illumination. He looks ill, tense with waiting. Cigarette stubs piled in the ashtray. He listens to the solitary PHONE below him in the building. Then it is joined by a SECOND. Then a THIRD. Control listens, nerves stretched to their limit. From just outside - the sound of someone running up the wooden staircase. A knock. JERRY WESTERBY -LRB- Entering. -RRB- Been a bit of a panic, sir. Control raises his head. JERRY WESTERBY -LRB- CONT'D. -RRB- From the FO resident clerk. A Hungarian news bulletin, sir. -LRB- Reading. -RRB- British spy, work - name Ellis, travelling with false Hungarian papers, has attempted to kidnap an unnamed Hungarian general in Budapest. He's been shot, other arrests imminent. Control stares at him, stands unsteadily, begins to put on his coat. JERRY WESTERBY -LRB- CONT'D. -RRB- Can I have a brief, please? Sir? Do you want me to deny it? Controls stares at him, lost. JERRY WESTERBY -LRB- CONT'D. -RRB- I have to have a brief sir?", "INT. CIRCUS - DUTY OFFICERS ROOM - NIGHT Westerby is on the phone. JERRY WESTERBY Ann? I'm sorry to bother you. Is George back yet?", "INT. CASINO - CASINO FLOOR - NIGHT - PRESENT Westerby and Smiley sit opposite each other. SMILEY You rang my house? JERRY WESTERBY Just on the off chance you were back from Berlin. SMILEY What did you say? JERRY WESTERBY Just that there'd been a bit of a crisis. She said you were n't back yet. That was it. SMILEY Go on. JERRY WESTERBY All hell broke loose - military yelling about Hungarian tank movements on the border, Lacon and the Minister baying at the door. Thank Christ Bill Haydon turned up when he did.", "INT. CIRCUS - NIGHT - PAST PUSHING BILL HAYDON as he walks up the corridor towards the duty room, cutting a swathe through the people gathered outside. BILL HAYDON Get out. The room clears. Bill sits down. He pulls out all the phone lines, decisive, taking charge. Kicks the door shut. BILL HAYDON -LRB- CONT'D. -RRB- Tell me. JERRY WESTERBY I tried to get hold of you. BILL HAYDON I just picked up half a story on the ticker - tape at my club. Tell me. JERRY WESTERBY Jim Prideaux's been shot. Haydon goes white. HAYDON Get me the Hungarian Embassy. JERRY WESTERBY -LRB- With relief. -RRB- Yes sir. Haydon is on the phones. BILL HAYDON You go and tell your Masters what will happen if one hair on Jim Prideaux's head is damaged. He covers the receiver, turns to Westerby. BILL HAYDON -LRB- CONT'D. -RRB- Get Esterhase on the phone. Tell him to pull in the Hungarian agents, anyone we're onto. Tell him to get down to the London School of Economics, sandbag some bloody students and put them on ice at Sarratt. Westerby watches Haydon on the phone from the door. Haydon listens to a voice for a moment, then hangs up. He stands, his back to Westerby. JERRY WESTERBY Any more news on him? Haydon does n't turn around, head bowed. JERRY WESTERBY -LRB- CONT'D. -RRB- Bill? -LRB- Beat. -RRB- Oh God, is he? For a moment it looks like Haydon wo n't answer but then he seems to master his emotions. BILL HAYDON We need to go to his flat. Clear out anything linked.", "INT. PRIDEAUX'S FLAT - NIGHT Haydon walks around the neat rooms. A bike up on the wall, a pair of muddy climbing boots on a newspaper, waiting to be cleaned. Haydon walks past a shelf - photographs and books. He stops, picks up an unframed black and white snap from the shelf. It's a picture of HIMSELF. Haydon stands with his back to us, possibly crying. Westerby turns thoughtfully away.", "INT. LONDON - WIMPY - NIGHT Smiley and Guillam sit eating side by side at a bar, Smiley examining the hamburger - his first - doubtfully. Guillam is thinking about what he's just been told. PETER GUILLAM Haydon heard the news at his club? Smiley is distant. SMILEY The Saville. PETER GUILLAM At one - thirty? The ticker - tape would n't be running. Guillam sits, mind racing. PETER GUILLAM -LRB- CONT'D. -RRB- So how did he know? Oh Jesus, George. SMILEY Peter. PETER GUILLAM Jesus Christ. Haydon? How could he have known? SMILEY It's not him, Peter. PETER GUILLAM Then how did he know? SMILEY -LRB- gently. -RRB- Because he was at my house that night. With Ann. Guillam does n't know what to say. They sit in a hideously awkward silence. SMILEY -LRB- CONT'D. -RRB- -LRB- of the Hamburger. -RRB- I quite like this.", "INT. SMILEY'S HOUSE - BEDROOM - NIGHT - PAST The phone on the nightstand starts to ring. A woman's hand reaches into frame and picks it up. WOMAN'S VOICE -LRB- O.S. -RRB- Hello? -LRB- beat. -RRB- Oh hello Jerry. No I'm afraid George is n't back yet. In the bed beside her we see Bill Haydon.", "EXT. LONDON STREETS - NIGHT A black Cab pulls up at the lights. Another black cab pulls alongside it. The two drivers acknowledge each other, chatting as the lights change to RED, but in no hurry to move. An impatient woman passenger flicks a look at the passenger in the opposite cab, wanting to share this moment of passenger outrage. We see ALLELINE'S profile staring stonily ahead. We follow his cab as it peels off into a FAMILIAR street, driving towards the house where we met Polyakov.", "EXT. HAMPSTEAD PONDS - DAY Smiley slips into the water. It's late afternoon. Very still and calm. Very few swimmers. Smiley's head breaks the surface, dips in, breaks the surface.", "EXT. HAMPSTEAD PONDS - DAY Smiley sits on a platform with his back to us, drying off from his swim, looking out over the water. A MAN'S HEAD appears, swimming up to the platform through the reeds. An old QUEEN, his face almost purple with the cold. He clings to the edge of the platform for a moment. OLD MAN Just in case it's of interest, dear. We are observed. Old Filth in the bushes. Not very subtle but there you are. He swims away. The wind lifts up a little, rustling the trees and bushes around the pond. We stay on Smiley, watched and alone.", "INT. SMILEY'S HOUSE - DAY Smiley walks into his hallway, picks up the MAIL piled on the floor. He crosses to the drawing room, still looking at the mail. The door is a little ajar and through the opening we catch a FLASH of movement in the room beyond - a COUPLE in a passionate embrace, glimpsed for a moment before they disappear out of sight. We can hear what may be their love - making. And a RECORD IS PLAYING. The same CHARLIE RICH track Smiley reacted to in the Islay Hotel. Smiley stares at the mail in his hand as if unwilling to look up. He pushes open the door and moves into.", "INT. SMILEY'S HOUSE - DAY which is EMPTY. He sits in an armchair, starts opening some letters. A FIGURE walks past Smiley abruptly. Smiley does n't look up. BILL HAYDON -LRB- O.S. -RRB- Good flight? Smiley looks up. BILL HAYDON sits in the armchair opposite in shirt and trousers, SOCKS, NO SHOES. He sips a cup of tea. No sense of having been caught in an act of adultery.", "INT. SMILEY'S HOUSE - DAY - PAST BACK ON SMILEY. who is now wearing a raincoat and we realise we are in fractured memories of. THE PAST SMILEY Yes. Pleasant enough. BILL HAYDON I was just passing, thought I'd call in. Ann was in bed but she insisted on getting up. She said she'll be down in a minute. Smiley glances at a half - wrapped oil painting lying against a chair. BILL HAYDON -LRB- CONT'D. -RRB- That's what I'm dropping off.", "INT. SMILEY'S HOUSE - DAY Smiley stands in front of the muddy - looking abstract painting we saw earlier. It's now on the wall. BILL HAYDON -LRB- O.S. -RRB- Awful daub really but Ann expressed a liking. What's keeping her? We hold on Smiley but hear Haydon leave the room, a WHISPERED CONFERENCE in the hall between Haydon and Ann. P.O.V. - FROM THE DOOR - George with his back to us, staring fixedly at the picture, listening to the whispers behind his back.", "INT. PRIDEAUX'S CARAVAN - EVENING Prideaux lies on his bed. There is a tap at the door. ROACH -LRB- O.S. -RRB- Sir? JIM PRIDEAUX Come in, Roach. Roach walks in. JIM PRIDEAUX -LRB- CONT'D. -RRB- Thought you were in sick bay? What are you. He stops, seeing the anxiety on the boy's face. JIM PRIDEAUX -LRB- CONT'D. -RRB- What is it, Jumbo? ROACH Sir there's a stranger parked down on the road. He's just sitting there. He dissolves into tears. Prideaux crouches beside him. PRIDEAUX -LRB- Gently. -RRB- It's alright, old fella. Do n't cry. Nobody ever watched like you, did they? Off you go, now. ROACH Are you going to have to leave? Prideaux stares at him. JIM PRIDEAUX I'll be fine. You get back to bed. Roach wipes his eyes and leaves. As soon as the door is closed Prideaux crawls under the little chest of drawers, grimacing with pain, working an arm further in. There is a FAINT SOUND - SOMEONE ON THE STEPS OUTSIDE. With a final effort Prideaux rips his RIFLE free from its hiding place, still trailing tape, and rolls to face the door, gun in hand. Silence. Then. A KNOCK AT THE DOOR. Prideaux aims the gun. The door opens.", "INT. CONTROL'S FLAT - NIGHT - PAST to reveal Control peering out at us. He steps aside and allows a PRE - INJURY Prideaux to enter.", "INT. CONTROL'S FLAT - NIGHT The flat Smiley visited. Control leads Prideaux into the same room - the green armchair, surrounded by mounds of files and papers, over - flowing ashtrays, the detritus of an obsession. The FIVE PHOTOGRAPHS of FACES fixed to the CHESS PIECES before him. Control, a walking corpse, lowers himself into the armchair, motions Prideaux to take another seat. CONTROL You were n't followed? Prideaux sits, presuming the question is rhetorical. CONTROL -LRB- CONT'D. -RRB- Trust no - one, Jim. Especially not in the main stream. What Hungarian identities do you still have running? PRIDEAUX Andras Benedek, Hungarian journalist based in Paris. Control nods thoughtfully. Then. CONTROL If you're caught, you keep me out of it. You were acting alone, bit of Private Enterprise. Understood? Prideaux watches him, very still. CONTROL -LRB- CONT'D. -RRB- I've had an offer of service. A Hungarian General. Wants to come over. I want you to meet him. He has information I need, Jim. PRIDEAUX What information? CONTROL Rocketry. Ballistics. Bit of politics. Something in his manner alerts Prideaux. PRIDEAUX What else? CONTROL -LRB- Beat. -RRB- Treasure. He has treasure. The name of the Mole Moscow Centre has planted at the top of the Circus. Prideaux's face does n't change, but he's wondering if the rumours could be true and Control really has gone mad. CONTROL -LRB- CONT'D. -RRB- There's a rotten apple Jim and we have to find it. Laboriously he leans forward to the CHESS SET. CONTROL -LRB- CONT'D. -RRB- I'm so close I can almost feel his heart beating. I know it's one of five men. All I want from you is one word. He points to the PHOTOGRAPH of PERCY ALLELINE. CONTROL -LRB- CONT'D. -RRB- Alleline - Tinker. -LRB- Points at the next photo. -RRB- Haydon - Tailor. Bland - Soldier. We drop Sailor, it's too close to Tailor. -LRB- Pointing at next photo. -RRB- Esterhase - Poorman.", "INT. PRIDEAUX'S CARAVAN - NIGHT - PRESENT Prideaux sits with his visitor - Smiley - recalling the meeting. He's drinking vodka. SMILEY Which means I was? PRIDEAUX You were Beggarman. Smiley nods. Just a flicker of the eyes shows us that this is painful for him to hear. SMILEY What did you make of it, Jim? Control's theory? PRIDEAUX -LRB- Stiff. -RRB- I thought it was madness. To think any one of you could have been a traitor. madness. Smiley is watching him intently - sure he's hiding something. SMILEY But still you went? Risking your life for a mission you thought was absurd? Why? Prideaux does n't answer. SMILEY -LRB- CONT'D. -RRB- Perhaps some part of you wanted to know if Control was right? Wanted to know if there was a Mole, who it might be? Prideaux shoots him a dangerous look. PRIDEAUX -LRB- Hard. -RRB- I went because Control asked me to go. It's called doing one's duty.", "INT. BUDAPEST - TRAIN STATION - DAY - PAST Prideaux climbs off his train and walks down the platform towards us. He pauses for a moment, drawing a Hungarian newspaper from his pocket. As he does so he glances at the other passengers walking past him. TWO WOMEN and a MAN, all apparently travelling alone, the SHOES they're wearing - BROWN SUEDE BOOTS, FUR LINED BLACK PLASTIC BOOTS and the man - a pair of BLACK GALOSHES. Prideaux walks on, tapping the paper against his leg.", "INT. BUDAPEST - GALERIA - DAY The scene from the opening of the film. The Waiter puts down Prideaux's plate, a drop of sweat from his forehead hitting the table. He looks at the droplet, fakes a smile for the Magyar, looks after the Waiter, scans the floor around him. HIS P.O.V. - There it is - one of the women is wearing the BLACK PLASTIC BOOTS. Her coat is different and she's wearing a fur hat now - but the shoes are the one thing the surveillance agents do n't have time to change. Prideaux glances up at the apartment windows above, sees the old woman, starts to rise. as we CUT TO : The SHOT -. punching into his back, Prideaux falling forward. as we CUT TO : PRIDEAUX'S P.O.V. Those shoes again, stepping in the water and blood on the floor, passing us at eye - level. Grouping and regrouping as the operation comes to an end. The noise in the background comes to us muted and very faint. Faintly, a baby is crying, an ambulance siren is wailing. Hands appear and we are rolled onto a stretcher and lifted up to chest level where we seem to FLOAT past the faces of the MAGYAR and the other Officers, smoking cigarettes by the doors, and out towards the open doors of a waiting ambulance.", "INT. BUDAPEST - GALERIA - DAY We are slid into the back of the ambulance as though into the drawers of a morgue. And snap to BLACK.", "INT. LUBYANKA PRISON - CELL - DAY We are looking at the back of Prideaux's head, hair damp with sweat, shoulders trembling. We PULL OUT and find Prideaux, a filthy dressing covering the wound on his back. The cell he is in has filthy, heavily padded walls, like a straitjacket. From a speaker in the ceiling comes a maddening jagged drone. Lights blaze down. SMILEY -LRB- V.O. -RRB- What did you tell them?", "INT. LUBYANKA PRISON - CORRIDOR - DAY Prideaux, in too much pain to walk, is being dragged down a brightly lit corridor towards an INTERROGATION ROOM at the far end. He is taken inside, the door closed behind him. PRIDEAUX -LRB- V.O. -RRB- Everything.", "INT. THURSGOOD SCHOOL - CLASSROOM - NIGHT - PRESENT Smiley stands staring at the OWL Prideaux killed, which is now stuffed, keeping guard from the top of a bookshelf. Prideaux sits at a desk drinking the vodka. PRIDEAUX I held on as long as I could, to give everyone else time to get the hell out of there. -LRB- Beat. -RRB- Did they? Smiley seems to have been thinking about something else, looks at him, puzzled. PRIDEAUX -LRB- CONT'D. -RRB- My networks in Hungary. Did they get out? SMILEY -LRB- Beat. -RRB- No. They were blown. The story is you blew them to save your own skin. Prideaux nods, makes an odd gesture as if he's about to rise, but does n't move. His expression has n't changed, but inside him something has just been decided. SMILEY -LRB- CONT'D. -RRB- What was your last line of defence? PRIDEAUX The Mole. Control's crazy theory. I was going to bury that so deep, they'd never get it out of me. Which was a joke. SMILEY Why? PRIDEAUX Because they already knew. They wanted to know how far Control had got in his investigation. SMILEY What else? PRIDEAUX Circus gossip. Was Percy's wife still drinking, who was Bland screwing in the office. That sort of thing. SMILEY Did they ask about me at all? PRIDEAUX One of them did. Smiley becomes very still. SMILEY What did he say about me? PRIDEAUX He had a cigarette lighter. Kept flashing it round for me to see. Showed me the inscription. `` To George, from Ann. All my love.'' He reckoned after Bill's fling with her, she might want to change the inscription. Smiley does n't flicker. PRIDEAUX -LRB- CONT'D. -RRB- -LRB- Still looking to the side. -RRB- I told him to go to hell. If they had one man like Bill Haydon they could call it set and match! SMILEY -LRB- Beat, quietly. -RRB- That was well said. They sit in silence for a moment. Smiley buttons his coat, finished here. SMILEY -LRB- CONT'D. -RRB- Try and put it all behind you, Jim. He makes to leave. PRIDEAUX He gave me a cigarette. Prideaux looks down at his hands. SMILEY Jim? Prideaux still does n't look up. PRIDEAUX I thought it was my last one.", "INT. LUBYANKA PRISON - CELL - DAY - PAST A concrete bunker of a room. Prideaux is standing in a slab of watery sunshine that falls from a sky - light above. He's smoking, trying to control the tremble in his hand. PRIDEAUX P.O.V. - The patch of sunshine only extends a few yards in front of him. The rest of the room is in granite shadow. The sense of other people watching from the shadows. The sound of a door opening and someone being led in. A woman walks across the dark room and into the slab of light, blinking as she does so. It's IRINA. Her hair is loose and dishevelled about her face. A man's voice comes from further back in the darkness. MAN'S VOICE -LRB- Russian accent. -RRB- Do you know this woman? Prideaux looks at her. Frowns. Another voice murmurs in Russian. Irina pins her hair up in the way we saw before. PRIDEAUX I do n't know her. She looks at Prideaux and gives a small polite smile, as though good manners are going to save her. IRINA I. A GUARD steps out of the shadows and SHOOTS her in the head, the shot THUNDEROUS in the room. It's horribly unexpected, and Prideaux jerks backward, bewildered and appalled. MAN'S VOICE -LRB- O.S. -RRB- Tell Percy Alleline what we did.", "EXT. HOTEL ISLAY - GUILLAM'S CAR - NIGHT - PRESENT P.O.V. - THROUGH WINDSCREEN. rain lashes down, obscuring our view. PRIDEAUX -LRB- V.O. -RRB- Do you know who she was? SMILEY -LRB- V.O. -RRB- -LRB- Cold. -RRB- Nobody you need concern yourself with. An unfortunate. REVERSE - we see Guillam and Smiley are sitting in the parked car in the rain. SMILEY -LRB- CONT'D. -RRB- He said when he got out, when he was being debriefed at the Nursery, he had a visitor. PETER GUILLAM Who? SMILEY Toby Esterhase.", "EXT. SARRATT - DAY - PAST Prideaux stands watching a small, dapper figure crossing the grounds towards him - TOBY ESTERHASE. A man who's come up in the world.", "EXT. HOTEL ISLAY - GUILLAM'S CAR - NIGHT - PRESENT SMILEY He gave him a thousand pounds. Told him he was dead now and could n't come back. Had to become a Lotus Eater - forget everything that happened - Control's theory, Tinker, Tailor. all of it. Guillam stares at him, ALERT. SMILEY -LRB- CONT'D. -RRB- Yes, that's what I thought. How on earth did Esterhase hear about `` Tinker, Tailor?''", "EXT. HOTEL ISLAY - NIGHT Smiley gets out of the car, into the rain. Looks around him, uneasy. PETER GUILLAM You alright? SMILEY Will you watch my back, Peter? Look out for a solo. Just a feeling I've had. PETER GUILLAM Yes, George. I'll watch. Guillam watches as Smiley heads off into the gloom.", "INT. HOTEL ISLAY - SMILEY'S ROOM - NIGHT Smiley stares at the CHESS BOARD - a complex pattern of related figures. He turns back to the tape - deck, puts the headphones on, presses play : SMILEY -LRB- O.S. -RRB- -LRB- Over headphones. -RRB- What exactly did Irina say? RICKI TARR -LRB- Over headphones. -RRB- She said there was a General, work - name Polyakov who was stationed in London. And that Polyakov's real job was to service the mole. He meets him regularly and takes back information the Mole gives him for Karla. Smiley presses STOP. He presses RE - WIND, watches the tape spool BACKWARDS. He goes too far, presses FAST - FORWARD, watches the tape REVERSE DIRECTION. And, at this moment, we can tell from his expression, a piece of the jig - saw falls into place.", "INT. MINISTERIAL MEETING ROOM - DAY Lacon and Smiley are meeting with the MINISTER. MINISTER This meeting is not taking place. Is that clear? SMILEY Perfectly, Minister. -LRB- Beat. -RRB- There is a house, somewhere in this city, where Alleline and the others meet Witchcraft's London representative. I need the address of that house. MINISTER I do n't know what you're talking about. Smiley stares at him. MINISTER -LRB- CONT'D ; CONT'D. -RRB- I do n't know the address. And I fail to see the. I thought Lacon had made it clear to you, keep your nose bloody - well out of Witchcraft's business! SMILEY -LRB- Calmly. -RRB- It's Lacon's advice I'm following. -LRB- To Lacon. -RRB- You told me to follow in Control's footsteps. MINISTER -LRB- Snapping. -RRB- Well, I would n't consider that sound advice, after the bloody mess Control left us with. It's taken Alleline - and, if I may say so, myself - this long to get us back into the race. SMILEY I'm glad you take some of the credit. Lacon glances sharply at Smiley - there's something different about him, his tone. SMILEY -LRB- CONT'D. -RRB- The man Alleline and the others meet is called Polyakov. You believe his role is to bring information from Witchcraft to you. His real role is to receive information from the Mole to take back to Karla. He has the Minister's full attention now. A long silence. MINISTER That's. that's not possible. SMILEY Made possible. By you. When he steals our secrets he does it under the very nose of the Circus, in the house which you persuaded the treasury to pay for. I'm sure you'll be able to take full credit for that. MINISTER -LRB- Appalled. -RRB- Witchcraft's intelligence is genuine! It's been gold! SMILEY Just enough glitter, amongst the chicken - feed. Control did n't believe in miracles and he did n't believe in Witchcraft. But you were lazy and you were greedy and so you hounded him out of the Circus and you let Karla in. His voice is still calm, but it's clear what's different now. There's a quiet fury in him. The Minister is ashen. MINISTER Oh God. We ca n't be made to look like fucking fools again! Forget Europe, if we have the black men getting to hear about this on Walla - Wallah News! What if we find the Mole and we move him sideways, some department where he ca n't do any harm? Is the Kremlin likely to boast about this? LACON Not in their interests sir. They need the Enemy to look like a threat. MINISTER Well, tell them to play the game. We do n't go crowing about their fuck - ups! In their panic, both men are addressing each other, momentarily forgetting Smiley. SMILEY -LRB- Suddenly. -RRB- We are not the prize. We're the bait. They turn to him. SMILEY -LRB- CONT'D. -RRB- You've opened negotiations to exchange intelligence with the Americans. What they tell the Circus, they'll be telling the Kremlin. Witchcraft's information, the `` gold'' Karla let you have? It was n't to lure you. It was to lure the Americans. Now, do you want to take credit for that? Lacon and the Minister stare at Smiley. MINISTER What can we do? SMILEY We have one thing the Mole wants.", "INT. CONTROL'S FLAT - DAY CLOSE on a belligerent Tarr, confidence regained. RICKI TARR If I go. PETER GUILLAM You'll go. RICKI TARR I want your word you'll get Irina back. Do n't care who you have to trade. I want a family. Do n't wan na end up like you lot. He looks at Smiley, then he gives Guillam a knowing look, as though deliberately provoking him. Guillam absorbs the slur but his eyes are hard. RICKI TARR -LRB- CONT'D. -RRB- We're gon na live in Paris out of your hair. You'll get her back? Again a flash of the coldness in Smiley. SMILEY -LRB- Beat. -RRB- I'll do my utmost, Ricki.", "INT./EXT. CIRCUS - DAY The doors open to reveal TOBY ESTERHASE, chatting to a JANITOR. ESTERHASE'S P.O.V. Guillam, standing by his car - holding the door open.", "EXT. LONDON STREETS - GUILLAM'S CAR - DAY Guillam is driving. The radio is on. The car pulls up on the roadside and two people climb in the back. It's Smiley and Fawn. Guillam speeds off. Nobody speaks. Esterhase sits stiff, mind - whirring, uncomfortably aware of Fawn's unsettling presence behind him.", "EXT. ABANDONED AIRFIELD - DAY TRACKING SHOT - PUSHING ESTERHASE. as he stumbles through the muddy airfield. A vast, empty space all around. Toby starts to turn, but. SMILEY -LRB- O.S. -RRB- Keep walking please. Toby stumbles on. SMILEY -LRB- CONT'D. -RRB- I want to talk about loyalty Toby. Control recruited you when you were trying to escape from Hungary did n't he? A wanted man. Saved you from a KGB bullet, did n't he? And yet, when the time came, when it came to picking sides between him and Alleline, you did n't hesitate? Understandable perhaps, with your war experience. You've survived this long, I suppose, because of your ability to change sides, serve any Master? Faintly we hear the low drone of an approaching engine. Esterhase scans the horizon, locks on the black speck in the sky - an aircraft flying towards them. Esterhase watches the approach with mounting anxiety. TOBY ESTERHASE What. what's this about George? SMILEY It's about which Master you've been serving, Toby.", "INT. CIRCUS - DAY - PAST A FILE is placed in a briefcase - we can see now that the hands in the frame belong to Esterhase. He checks the corridor is clear.", "EXT. ABANDONED AIRFIELD - DAY - PRESENT as he and Guillam drive Esterhase on. SMILEY Intelligence has been leaked, Toby. Someone's been taking files from the Circus.", "INT. CIRCUS - GROUND-FLOOR LOBBY - DAY - PAST Esterhase leaving the Circus, Bryant politely wishing him good night.", "EXT. ABANDONED AIRFIELD - DAY - PRESENT eyes fixed on the plane as it roars down towards them. TOBY ESTERHASE This is a mistake George, this is all. SMILEY The files were delivered to a Russian attache, were n't they?", "INT. SAFE HOUSE - MEETING ROOM - EVENING - PAST Esterhase holding up the documents for Polyakov to photograph. Whir. Click.", "EXT. ABANDONED AIRFIELD - DAY - PRESENT TOBY ESTERHASE Yes. And yes, I delivered them.", "EXT. SAFE HOUSE - DAY - PAST Alleline getting out of the cab by the railings. the dog barking from inside the house. TOBY ESTERHASE -LRB- V.O. -RRB- but so did Percy.", "INT. SAFE HOUSE - GROUND FLOOR - NIGHT Haydon walking past Mrs McCraig and heading up the stairs to the empty room. TOBY ESTERHASE and Bill.", "INT. SAFE HOUSE - MEETING ROOM - DAY Roy Bland sits in front of Polyakov, holding up the documents for Polyakov to photograph - Whir. Click. TOBY ESTERHASE And Roy.", "EXT. ABANDONED AIRFIELD - DAY - PRESENT Esterhase ca n't tear his eyes away from the propeller plane descending onto the runway ahead of them. TOBY ESTERHASE Things are n't always what they seem. You know that George. Moscow thinks Polyakov's working for them, so, every now and then we give him the odd file to take back to them, just chicken - feed, keep his bosses happy. But Polyakov's our Joe, part of a big operation. SMILEY Operation Witchcraft? Yes, I know. Esterhase stops, turns to look at Smiley. TOBY ESTERHASE Why are we here? Why are we? Guillam gives him a sudden VIOLENT SHOVE in the back. Esterhase straightens himself, runs a palm through his hair, real fear on his face now. TOBY ESTERHASE -LRB- CONT'D. -RRB- I do n't. I do n't deserve this. I do n't deserve this George! SMILEY Who gave you the message for Jim to forget about Tinker Tailor? TOBY ESTERHASE Bland! SMILEY To get rid of Connie Sachs? Westerby? TOBY ESTERHASE Bland or Haydon. I do n't remember. One of them. Maybe Percy. I do n't know who. SMILEY You're just the messenger? Running between them all. Anything to serve Witchcraft? Esterhase flinches again. SMILEY -LRB- CONT'D. -RRB- I know all about your secret source. And I know something you do n't. I know who he is. -LRB- Beat. -RRB- He's Karla. Esterhase turns to look at them in horror. Guillam pushes him again. The plane has taxied to a halt ahead of them. Unmarked. Something sinister about it.", "INT. SAFE HOUSE - GROUND FLOOR - DAY - PAST in the London House, spools turning. We hear the familiar Click. Whir of Polyakov's camera.", "INT. SAFE HOUSE - MEETING ROOM - DAY Polyakov is photographing. nothing. The table in front of him is empty, the shooting just a pantomime for the microphone above. As he continues to shoot we see the Mystery man sitting across the table from him. He takes out a canister of developed film and passes it to Polyakov. SMILEY -LRB- V.O. -RRB- One of you has been giving Polyakov the Crown Jewels.", "EXT. ABANDONED AIRFIELD - DAY - PRESENT standing on the airfield. TOBY ESTERHASE I did n't know. I swear I. SMILEY Are you still a wanted man, Toby? Toby looks back at the plane, almost hysterical. TOBY ESTERHASE George! SMILEY You picked the wrong side, Toby. TOBY ESTERHASE -LRB- crying. -RRB- George, you've got to believe me. I would never. I'm loyal, George. I'm loyal! Smiley watches him cry for a moment, his face impassive. SMILEY Give me the address. Where do you meet Polyakov?", "EXT. SAFE HOUSE - DAY A terrace of flat - fronted nineteenth century houses one of them the house we have already visited. A CAR draws up before one of them and Smiley, Fawn and Guillam get out and head for the front door.", "INT. SAFE HOUSE - GROUND FLOOR The men are fanning out, Fawn and Guillam heading into the kitchen. Smiley walks upstairs, dogged by the HOUSEKEEPER - MRS McCRAIG - not at all happy with the invasion. SMILEY What are the safety signals? MRS MCCRAIG There's an air duct. Open and all's well. Closed and you're not to enter.", "INT. SAFE HOUSE - MEETING ROOM - DAY They enter the EMPTY ROOM. SMILEY Where is the mike, Mrs McCraig? She points at the candelabra. SMILEY -LRB- CONT'D. -RRB- And what's the procedure? MRS MCCRAIG Whenever the gentlemen are meeting I record the session. The tapes are sent back to the Circus. From downstairs come the crash of furniture being moved, rooms searched. MRS MCCRAIG -LRB- CONT'D. -RRB- What are they doing? They should n't be moving things! The authority in Smiley's voice stops her. SMILEY If you're at all worried you can call Lacon from the basement phone. Let's try the tape recorder shall we?", "INT. SAFE HOUSE - GROUND FLOOR - DAY CLOSE ON TAPE RECORDER - SPOOLS SLOWLY REVOLVING Over the RECORDER we can hear GUILLAM'S VOICE reciting something from childhood, from the room above. PETER GUILLAM -LRB- O.S. -RRB- The boy stood on the burning deck whence all but he had fled. The flame that lit the battles wreck, shone round him o'er the dead. Smiley is listening. PETER GUILLAM'S VOICE Yet beautiful and bright he stood.", "EXT. PARIS - STREET - EVENING Establishing shot of a street in Paris. A squat Yorkshireman - MACKELVORE - walks out of a nearby restaurant and gets into a car. Out of nowhere Tarr suddenly appears, climbing into the passenger side, ramming a gun into his side.", "INT. PARIS - APARTMENT - PARIS RESIDENCY - NIGHT Mackelvore leads Tarr into a grand but dilapidated apartment. An elderly FRENCHMAN - ex - Resistance - looks up from his evening meal as the two pass. MACKLEVORE -LRB- In French. -RRB- Guest from London Station, Monsieur Fourcade. The Frenchman grunts a greeting, turns back to his supper. MACKELVORE -LRB- as they walk on. -RRB- The whole service is looking for you, Ricki. They'll skin you alive if they find you. RICKI TARR -LRB- mildly. -RRB- Maybe I want them to find me. Mackelvore frowns. They reach a door which he opens to reveal a STEEL DOOR beyond. He presses a bell and a hatch in the door slides open and a young man's face appears. This is BEN. He slides open a bolt, a double lock, and lets them into a.", "INT. PARIS - CYPHER ROOM - NIGHT MACKELVORE You can go home now, Ben. Leave the books where they are and put the keys into the machines. I'll be talking to London presently under my own steam. BEN Okay boss. Tarr takes out his gun. RICKI TARR -LRB- Flat. -RRB- Ben stays here.", "INT. PARIS - CYPHER ROOM - NIGHT Tarr stands over Mackelvore, who is sending a message to the Circus. RICKI TARR -LRB- dictating. -RRB- Ricki Tarr claims to have further information vital to the safeguarding of the Circus.", "INT. LONDON - TAILOR'S SHOP NEAR CIRCUS - NIGHT A dark workroom. WE TRACK through a crowd of TAILORS DUMMIES. Some of the dummies are draped in clothes, some just shapes in the darkness. As though we are moving through A ROOM FULL OF SPIES. By a great domed window, occasionally washed with yellow from the traffic outside, we find MENDEL, his back to us staring out. MENDEL'S P.O.V. - THE CIRCUS ACROSS THE ROAD. A taxi pulls up a few yards away from the circus doors. We see a man clamber out. It's Percy Alleline. MENDEL -LRB- into phone. -RRB- Tinker.", "INT. SAFE HOUSE - LISTENING ROOM - NIGHT Smiley sits on an armchair, lit by a harsh over - head light. SMILEY -LRB- into phone. -RRB- How's he look? MENDEL -LRB- O.S. -RRB- Busy. Smiley puts the receiver on the arm of the chair, takes off his shoes and in his stocking feet crosses the room. As he does so he spools out a WASHING LINE, tying it to the far door knob.", "EXT. SAFE HOUSE - TOW PATH - NIGHT Guillam, waits on the tow - path looking back at the house. Someone, presumably Smiley, is moving through the house, turning the lights off until it is in complete darkness. MENDEL -LRB- O.S. -RRB- Tailor. A torch light flashes once from a downstairs window. MENDEL -LRB- O.S. ; CONT'D. -RRB- Here comes Soldier.", "INT. SAFE HOUSE - LISTENING ROOM - NIGHT Smiley sits in the darkness holding the phone to his ear. MENDEL -LRB- O.S. -RRB- Full house.", "INT. PARIS - CYPHER ROOM - NIGHT The three men stand over the silent cypher machine. Tarr's gun rammed into his belt. Tarr is almost glittering with nerves. Then the machine clatters into life. RICKI TARR Read it aloud. Ben starts to read, his high, rather imperious schoolboy voice carries over the next few shots. BEN Personal for Tarr from Alleline.", "INT. CIRCUS - ARCHIVE LIFT - NIGHT A shot of the archive room, of the lift full of secrets slowly being lowered into the ground. BEN -LRB- V.O. -RRB- require clarification before meeting your request. ON THE DOOR OF THE WAR - ROOM resolutely closed, a slither of light burning beneath it.", "INT. TAILORS SHOP - NIGHT The tailors dummies standing to attention, as alert as Mendel watching from the window, phone to mouth. BEN -LRB- O.S. -RRB- Quote information vital to safeguarding of the Circus unquote does not qualify.", "INT. PARIS - CYPHER ROOM - NIGHT Tarr has begun to laugh, gripped by a weird hilarity. Ben reads even faster. BEN send further information. RICKI TARR That's the way Percy boy! You keep stalling. I better warn you Ben, there's some lousy people in this outfit. Do n't trust a fucking one of them.", "INT. SAFE HOUSE - LISTENING ROOM - NIGHT Smiley sits in the BLACKNESS. SMILEY'S P.O.V.. The washing line extends ahead of him, glowing faintly white in the darkness. The tinny sound of Mendel's voice comes from the receiver beside him. MENDEL -LRB- O.S. -RRB- Mister Smiley. Smiley picks up the receiver. SMILEY I'm here, Mendel. MENDEL -LRB- O.S. -RRB- One's gone. Smiley puts the receiver back on the armchair. He goes to the window in his stockinged feet.", "EXT. SAFE HOUSE - TOW PATH - NIGHT Guillam, nerves taut, sees three long flashes. The mole is coming.", "EXT. SAFE HOUSE - NIGHT A long silent look at the dark house. Then the star of light spilling into the darkness from the air vent.", "INT. SAFE HOUSE - LISTENING ROOM - NIGHT Smiley, calm and contained, hears the sound of a CAB drawing up outside. A pair of footsteps on the path. Scrape of a key in the door. A pale rim of light appears around the kitchen door. And outside the sound of a second cab drawing up. Someone else enters the house. Movement in the kitchen. Two men's voices start to speak in Russian. Smiley gets up, GUN in one hand, and guided by the line, makes his way through the darkness to the door of the kitchen, groping, rather like a blind man walking towards the light. POLYAKOV -LRB- O.S. -RRB- -LRB- In Russian. -RRB- What is your cover story in case we are disturbed? The sound of ANOTHER voice answering in Russian from further back in the room. ON Smiley inching across the room.", "INT. SAFE HOUSE - GROUND FLOOR - NIGHT The tape recorder working. POLYAKOV -LRB- O.S. -RRB- -LRB- on tape, in Russian. -RRB- This can be salvaged. Tarr can be found and liquidated.", "EXT. SAFE HOUSE - TOW PATH - NIGHT Guillam waits. He turns, his nerves taut, searching the shadows for movement. For a moment he's certain he's being WATCHED. Then, from the house, the signal he's been waiting for. Three long flashes. Guillam starts to run.", "EXT. SAFE HOUSE - TOW PATH - NIGHT A nervous Lacon is waiting on a corner, Guillam runs past. PETER GUILLAM He's here. OLIVER LACON I wo n't have bloodshed. I want absolute calm! A cab appears and Mendel jumps out. Mendel and Lacon hurry towards the house, Guillam sprinting ahead.", "INT. SAFE HOUSE - GROUND FLOOR - NIGHT CLOSE ON THE TAPE SPOOL - REVOLVING. churning the SILENCE. The sounds of the house amplified. No one talking. Perhaps the faintest of coughs.", "EXT. SAFE HOUSE - NIGHT GUILLAM'S P.O.V. Racing towards the FRONT DOOR and bursting through, into the hallway and on up the stairs, taking them three at a time, bursting through into.", "INT. SAFE HOUSE - MEETING ROOM - NIGHT An oddly formal scene. POLYAKOV stands pipe in hand. Smiley sits in a chair, GUN in hand. Absurdly, still in his STOCKING FEET. And opposite him sits BILL HAYDON. They all turn to look at Guillam who stands panting in the doorway. ON GUILLAM. as his nerves and excitement and any hope he might have had of a sense of victory DRAINS AWAY, leaving him with just an odd sense of embarrassment and shame.", "EXT. SARRATT - DAY Nissan huts surround a cricket field. Two cadets run laps. Smiley walks towards one of the huts, stops as Alleline walks out. Alleline, a broken man, can barely look at him. With a nod he walks on.", "EXT. SARRATT - NISSAN HUT - DAY An unshaven, exhausted Haydon stands outside the Sarratt building in a small fenced enclosure. We see Smiley walking towards him. He's brought a box of cigarettes.", "INT. SARRATT - DAY Haydon is weeping quietly but without emotion. Smiley offers Haydon the box of Cigarettes. SMILEY I was assured there would be no coercion. Haydon waves it away. Smiley hands him a clean handkerchief. BILL HAYDON It's almost funny George. I know the Inquisitors little bag of tricks. I taught most of them. Do n't mind the tears. Just a reaction. An over - reaction, if you like. Craddox says I'll be off in a few days. I keep thinking how I'm going to miss the cricket in Moscow. He weeps again. BILL HAYDON -LRB- CONT'D. -RRB- I rather hoped you would do a little light house - keeping for me. SMILEY If I can. BILL HAYDON There's a girl. Would you give her some money for me? Give her a good cover story. If it helps tell her I love her. It's all here. SMILEY Of course. BILL HAYDON There's a boy too. Bung him a few quid to shut him up. Take it out of the reptile fund. SMILEY I did have one or two questions. About Prideaux. BILL HAYDON Damn it! I got him back, did n't I? SMILEY Yes, yes you did. That was good of you. -LRB- Beat. -RRB- I'm surprised Karla did n't shoot him. Or do you think he held back out of delicacy towards you? No response. Smiley looks carefully at Haydon's profile. SMILEY -LRB- CONT'D. -RRB- Did Prideaux come and see you before he left on his Hungarian mission? BILL HAYDON Yes, as a matter of fact he did. SMILEY To say what? Haydon stares at him. For the first time the tears seem real. Guilt and grief. He looks down. A long pause. SMILEY -LRB- CONT'D. -RRB- -LRB- almost to himself. -RRB- To warn you. Because he knew, deep down, it was you all along. BILL HAYDON So did you. Haydon stares out, lost in thought. BILL HAYDON -LRB- CONT'D. -RRB- I had to pick a side George. It was an aesthetic choice as much as a moral one. The West has grown so very ugly, do n't you think? Smiley does n't answer. A moment of silence. SMILEY Did Karla ever consider having you take over the Circus? For a moment Haydon looks rattled. BILL HAYDON I'm not his bloody office boy. SMILEY What are you then? Haydon turns to Smiley, a flash of hauteur. BILL HAYDON I'm someone who made his mark. Smiley watches him, feeling him shrink in stature before his eyes. Haydon lights a cigarette. SMILEY -LRB- Quietly. -RRB- Is there anything you want me to pass on to Ann? For a moment Haydon looks genuinely puzzled. BILL HAYDON Oh, that was nothing personal, George, I hope you understand that? Karla said you were good, the one we had to worry about. But you do have a blind spot. He reckoned if I was known to be Ann's lover you would n't be able to see me straight. And he was right, up to a point. SMILEY Up to a point.", "INT. CONTROL'S FLAT - DAY The flat is now empty, cleared of Control's possessions. Smiley looks around, places a CHESS PIECE on the piano. We see the piece bears the name HAYDON. SMILEY -LRB- Quietly. -RRB- `` Tailor.'' He walks away.", "EXT. SMILEY'S HOUSE - DAY George comes up his path, looking old and tired.", "INT. SMILEY'S HOUSE - DAY He stops still inside his doorway. The little figure on the console table is in the wrong position. Smiley puts his hand on it, but does n't right it, listening to something from somewhere inside the house. A faint movement. Through the HALF OPEN KITCHEN DOOR we catch a glimpse of a WOMAN beyond. ANN is back. Smiley stands with his back to us, still in his coat, staring through the door at his wife beyond. Something of a Vermeer in the image. He's absorbing the different atmosphere - home. Deciding whether to go in. Or not. Suddenly we hear MUSIC - JULIO IGLESIAS, singing a disco version of LA MER - very seventies.", "INT. CIRCUS - FIFTH FLOOR PARTY - NIGHT - PAST The same lively Christmas PARTY at the Circus we saw earlier. BILL HAYDON, a little drunk and happy, works his way through the packed room, dancing to the Iglesias' track, a drink in each hand, a little tongue - in - cheek, singing along. HAYDON'S P.O.V. other members of the Circus glimpsed as we pass them - CONNIE SACHS, WESTERBY, BLAND, drunk, grinning at us. TOBY ESTERHASE talking to one of the SECRETARIES. The MUSIC continues as we find. CONTROL and SMILEY. sitting a little apart, talking. Haydon is still working his way through the party. We PASS PERCY ALLELINE and his DRUNK WIFE. Alleline looking fretful and hoping no - one is noticing the scene she is making. Haydon grins at all his comrades, feeling fond of everyone, but heads on to his destination. PRIDEAUX sits watching him come with a drink towards him, shakes his head, but ca n't help but smile fondly at the idiot Haydon is prepared to make of himself.", "EXT. SARRATT - EVENING - PRESENT The music continues as we see two cadets are running on the circuit, their white t - shirts only just visible in the dark. Haydon sits on his bench, smoking, watching them flit by. He smiles to himself, remembering. He senses something, turns and looks back. Prideaux stands in the shadows behind him, some fifteen foot away. The two men stare at each other, then Haydon turns back to watch the runners. We HOLD CLOSE on his face as Prideaux approaches, the only sound the soft wind and his hushed footsteps growing loser. Finally. BILL HAYDON -LRB- Of the runners. -RRB- Just like us Jim. -LRB- Beat. -RRB- Best days. A rifle is placed on the side of his head - the same execution shot that we saw used on Irina - the force blowing him sideways out of the frame. As the music continues we.", "EXT. SARRATT - DAWN Frost on the grass. We find a CADET staring down at the corpse of Haydon leaning against the back of the bench, outlined in silver frost. The music ends.", "INT. PRIDEAUX'S CARAVAN - DAY Prideaux sits on his bed. From outside - the sound of a football game. Someone taps on the door. Low. Taps again. Prideaux, coiled with grief and anger, suddenly gets up.", "EXT. PRIDEAUX'S CARAVAN - DAY Roach stands in the doorway, carrying a gift - a boot - scrape made in woodwork. ROACH I made you something. Prideaux stares at the boot scrape. PRIDEAUX I do n't want you hanging around here. Keep away from me from now on. Go and join the others. Roach stands frozen. PRIDEAUX -LRB- CONT'D. -RRB- Just bloody join in. Go and play damn you. He watches Roach walk to the edge of the field and stand mutely at the side. A ball rolls towards him. Roach goes to kick it. Misses. He tries again, RUNNING OUT OF SHOT.", "EXT. PARIS DEPARTMENT STORE - EVENING Tarr is walking through a busy street. He stops to light a cigarette. A woman in a YELLOW dress appears, reflected in the glass. She's holding the hands of two children. For a moment it looks like Irina. Tarr spins round, but the woman has disappeared. He stares after her, hoping to catch a glimpse of her again.", "EXT./INT. CIRCUS - GROUND-FLOOR LOBBY - DAY Smiley walks back into the lobby, hesitates for a moment, then pushes on through the turnstile.", "INT. CIRCUS - CONFERENCE ROOM - DAY George takes his place at the baronial chair. He examines the CHESS PIECE in his hand. We see it is labelled KARLA. He toys with it for a moment, then places it on the table in front of him, clears his throat. SMILEY Shall we begin? Through the open door Smiley's new inner circle begin to enter and take their place at the table around him." ]

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[ "Magnolia NARRATOR In the New York Herald, November 26, year 1911, there is an account of the hanging of three men - Black and White Lumiere Footage Three men hung. bang. bang. bang. Newspaper Headline comes into focus. `` Three Men Hung.'' Sub Head comes into focus.'' . for murder of.''", "INT. APARTMENT/FOYER - EVENING (Lumiere Footage Contd.) A man in period dress -LRB- 1911 -RRB- walks in the door. CAMERA DOLLIES IN QUICK as he takes his hat off, shakes snow, looks off - NARRATOR they died for the murder of Sir Edmund William Godfrey - Sir Edmund is greeted by his WIFE and two CHILDREN. NARRATOR - Husband, Father, Pharmacist and all around gentle - man resident of -", "EXT. STREET - NIGHT CAMERA pushes in on the town sign, reads : `` Greenberry Hill, London. Population 1276'' NARRATOR Greenberry Hill, London. Population as listed.", "EXT. PHARMACY - NIGHT HIGH ANGLE, looking down as Sir Edmond comes out the door, locks up for the evening. CAMERA BOOMS DOWN and PUSHES IN TOWARDS HIM, WHIPS RT TOWARDS : NARRATOR He was murdered by three vagrants whose motive was simple robbery. They were identified as : A COATED MAN standing in the shadows of the alley way nearby. NARRATOR Joseph Green. CAMERA WHIPS RT. again, nearby ANOTHER MAN steps closer - NARRATOR Stanley Berry. CAMERA WHIPS RT. one more time and PUSH IN towards THE LAST MAN - NARRATOR and Nigel Hill. WIDE ANGLE, ABOVE SCENE. The three men move in on Sir Edmond and start to knife him to death, stealing his money and jewelry. CAMERA PULLS BACK and up to include the sign of the pharmacy now : `` Greenberry Hill Pharmacy.'' LUMIERE FOOTAGE REPLAYED. Three men hug. Bang. bang. bang. NARRATOR Green, Berry and Hill. FREEZE FRAME On the last hanging image. NARRATOR And I Would Like To Think This Was Only A Matter Of Chance. OPTICAL WIPE OF FLAMES FILL THE SCREEN, CAMERA PULLS BACK :", "EXT. FORREST/NEAR LAKE TAHOE - NIGHT (35mm/color/anamorphic now) CAMERA is in the midst of a large FORREST FIRE. CAMERA THREE FIREMEN battling the flames. CAMERA PUSHES IN On them as they scream and shout directions at each other : NARRATOR As reported in the Reno Gazzette, June of 1983 there is the story of a fire - HIGH ANGLE, THE TREE TOPS. The trees are on fire. moments later. NARRATOR - the water that it took to contain the fire - WATER FALLS DOWN. dropped from a FIRE DEPARTMENT AIR TANKER.", "EXT. FORREST/NEAR LAKE TAHOE - MORNING CAMERA pushes in towards FOUR FIREFIGHTERS as they survey the area. The fire is out and they are walking through. The MAIN FIREFIGHTER steps into a close up and looks : NARRATOR - and a scuba diver named Delmer Darion. FIREFIGHTER'S POV, THAT MOMENT CAMERA dollies in and TILTS up towards the top of the tree to reveal : There is a MAN IN SCUBA GEAR hanging high in the tree. He is wearing his goggles and his tanks and his wet suit. FIRE FIGHTER -LRB- OC. -RRB- What the fuck is that? ANGLE, CU. DELMER DARION. He still has his mask and mouthpiece.", "INT. PEPPERMILL CASINO - NIGHT - FLASHBACK CAMERA looks down on a blackjack game, BOOM DOWN and TILT UP to reveal : DELMER DARION -LRB- 40s -RRB- NARRATOR Employee of the Peppermill Hotel and Casino, Reno, Nevada. Engaged as a blackjack dealer -", "INT. CASINO/LOBBY - EARLY MORNING - FLASHBACK CAMERA pushes in towards Delmer as he leaves for the nght, his uniform draped on a hanger over his shoulder, he nods and motions two fingers to his fellow WORKERS who say `` so longer.'' -LRB- Note : He has a bandage over his forehead. -RRB- NARRATOR - well liked and well regarded as a physical, recreational and sporting sort - Delmer's true passion was for the lake -", "INT. LAKE TAHOE/UNDERWATER - DAY Delmer SPLASHES in and comes down towards the CAMERA. SOUND drops out, becomes very quiet.", "EXT. LAKE TAHOE - THAT MOMENT The FIRE DEPARTMENT AIR TANKER comes flying in, heading towards the lake, coming directly at CAMERA.", "INT. LAKE TAHOE/UNDERWATER - THAT MOMENT Delmer dives. Silent and peaceful.", "EXT. LAKE TAHOE - THAT MOMENT OVERHEAD ANGLE Looks down on the calm lake. beat, then : THE MASSIVE AIR TANKER FILLS THE FRAME, TOUCHING DOWN ON THE WATER, FULLING IT'S BODY FULL OF WATER FROM THE LAKE. It enters CAMERA RT. and exits CAMERA LFT. ANGLE, THE AIR TANKER. It heads off full of water towards the raging forrest fire in the distance. NARRATOR - as reported by the coroner, Delmer died of a heart attack somewhere between the lake and the tree. But most curious side note is the suicide the next day of Craig Hansen -", "EXT. RENO MOTEL - DAY - FLASHBACK Establishing shot. -LRB- x3 -RRB-", "INT. MOTEL - THAT MOMENT CAMERA PUSHES IN SUPER QUICK towards a MAN named CRAIG HANSEN -LRB- 30s -RRB- He shoves a RIFLE under his chin and pulls the trigger, blood and brains splatter the ceiling.", "INT. AIR TANKER COCKPIT - FLASHBACK - DAY HANSEN flying the plane. HOLD CU. as he moves towards the lake. NARRATOR volunteer firefighter, estranged father of four and a poor tendency to drink - Mr. Hansen was the pilot of the plane that quite accidentally lifted Delmer Darion out of the water -", "EXT. LAKE TAHOE - SHOT REPLAYED. Quick flashback to the footage of the PLANE lifting the water from the lake, SOUND CARRIES OVER.", "INT. CASINO - NIGHT - FLASHBACK The Blackjack table where DELMER Is dealing. DOLLY AROUND to reveal a drunk and obnoxious CRAIG HANSEN, screaming about the cards he's been dealt and taunting Delmer NARRATOR - added to this, Mr. Hansen's tortured life met before with Delmer Darion just two nights previous - Hansen SPITS and PUNCHES at Delmer Darion's FACE for dealing the cards he's been dealt. SECURITY GUARDS attack and pull him to the ground.", "INT. MOTEL ROOM - DAY - BACK TO SCENE CRAIG HANSEN reading the paper, looking at the cover story, that has a photo of DELMER DARION. He's crying and mumbling to himself : CRAIG HANSEN oh God. fuck. I'm sorry. I'm sorry. NARRATOR The weight of the guilt and the measure of coincidence so large, Craig Hansen took his life. Replay of Craig Hansen's suicide, except this time, right before he blows his head off we hear him say, through tears : CRAIG HANSEN forgive me.", "INT. CASINO - NIGHT - BACK TO SCENE Back to the fight DELMER and CRAIG HANSEN are having : CAMERA DOLLIES IN QUICK TOWARDS Delmer on the ground with blood coming from his nose. FREEZE FRAME. NARRATOR And I Am Trying To Think This Was All Only A Matter Of Chance. INSERT, CLOSE UP - HOTEL EVENTS BOARD. It reads : Welcome! AAFS Awards Dinner and Reception Walnut Room. 8pm.", "INT. HOTEL BANQUET ROOM - NIGHT (1961) CAMERA pushes in following two GUESTS through some double doors and reveals the DINNER RECEPTION. ANGLE, MAN BEHIND PODIUM. CAMERA pushes in quick then blends to 60fps on a man in glasses : DONALD HARPER, forensic scientist as he speaks into the microphone. NARRATOR The tale told at a 1961 awards dinner for the American Association Of Forensic Science by Dr. Donald Harper, president of the association, began with a simple suicide attempt -", "EXT. ROOFTOP - MORNING - FLASHBACK (1958). A seventeen year old kid SYDNEY BARRINGER steps up on to the roof of a nine story building and looks down. NARRATOR Seventeen year old Sydney Barringer. In the city of Los Angeles on March 23, 1958. CAMERA DOLLIES towards Sydney landing in a CLOSE UP of his feet on the ledge, they wobble a bit - he jumps, disappears from FRAME. BEAT. The following happens very quickly : ANGLE, looking up towards the sky. Sydney falls past CAMERA. ANGLE, looking down towards the street. Sydney continues to fall. ANGLE, a random window on the sixth floor of the building SMASHES. ANGLE, Sydney's stomach. a BULLET rips into it as he falls. blood splatters and his body flinches. ANGLE, looking up towards the sky. Sydney's body and some shattered glass FALL directly at the CAMERA. which pulls back a little to reveal : a SAFETY NET in the foreground. Sydney's body falls LIMP into the net. FREEZE FRAME. NARRATOR The coroner ruled that the unsuccessful suicide had suddenly become a succesful homicide. To explain :", "EXT. ROOFTOP - FLASHBACK. Replay of shot. Sydney steps up on the rooftop. CAMERA pushes in towards him quickly, this time moving into his COAT POCKET - NARRATOR The suicide was confirmed by a note, left in the breast pocket of Sydney Barringer -", "INT. COAT POCKET - THAT MOMENT CAMERA catches glimpses of the note,'' I'm sorry.'''' . and in this time.'''' . so I will go''''. and be with God.'' NARRATOR At the same time young Sydney stood on the ledge of this nine story building, an argument swelled three stories below -", "INT. BUILDING/HALLWAY - THAT MOMENT CAMERA pushes in towards the door of ROOM 638. We hear same screaming and yelling coming fram behind the door. NARRATOR The neighbors heard, as they usually did, the arguing of the tenants -", "INT. APARTMENT #638 - THAT MOMENT An ELDERLY COUPLE -LRB- early 60s -RRB- are savagely fighting and throwing things. The OLDER MAN is backing away from the OLDER WOMAN who is coming at him with a SHOTGUN. NARRATOR - and it was not uncommon for them to threaten each other with a shotgun or one of the many handguns kept in the house - OLDER MAN Put it down, put that fuckin' thing down Fay - OLDER WOMAN - I ` II fucking tell YOU. I'll shoot you in the face and end this argument and we see who's right - NARRATOR And when the shotgun accidentaly went off, Sydney just happend to pass - The OLDER WOMAN stumbles a bit on some furniture and the SHOTGUN goes off - FIRES past the OLDER MAN's head - and SMASHES the window behind him - SYDNEY falls past and gets shot in the stomach, then falls out of FRAME - -LRB- They're oblivious to this -RRB- OLDER MAN You CRAZY FUCKIN' BITCH WHAT ARE YOU DOING? OLDER WOMAN SHUT THE FUCK UP. FREEZE FRAME on the two of them yelling and screaming : NARRATOR Added to this, the two tenants turned out to be : Fay and Arthur Barringer. Sydney's mother and Sydney's father.", "INT. APARTMENT - DAY - LATER CAMERA moves through the scene as POLICEMAN and DETECTIVES question the OLDER COUPLE. Neighbors and lookie - loos around. NARRATOR When confronted with the charge, which took some figuring out for the officers on the scene of the crime, Fay Barringer swore that she did not know that the gun was loaded. FAY BARRINGER I did n't know - I did n't know - ARTHUR BARRINGER She always threatens me with the gun, but I do n't keep it loaded - DETECTIVE - and you did n't load the gun? ARTHUR BARRINGER Why would I load the gun?", "INT. APARTMENT/HALLWAY - THAT MOMENT CAMERA moves through as OFFICERS are talking to and getting statements from VARIOUS NEIGHBORS. CAMERA closes in on an EIGHT YEAR OLD BOY, speaking with a DETECTIVE. NARRATOR A young boy who lived in the building, sometimes a vistor and friend to Sydney Barringer said that he had seen, six days prior the loading of the shotgun - The DETECTIVE turns his head and calls to another - DETECTIVE C'mere a minute -", "INT. APARTMENT - DAY - FLASHBACK. CAMERA moves into a bedroom area where we see a FIGURE from the back sitting on the bed - NARRATOR It seems that the arguing and the fighting and all of the violence was far too much for Sydney Barringer and knowing his mother and father's tendency to fight, he decided to do something - CAMERA reveals that it is Sydney Barringer who is loading the shotgun. The YOUNG BOY is sitting nearby, watching Sydney mumble to himself as he loads shells into the shotgun.", "INT. APARTMENT/HALLWAY - PRESENT CAMERA moves in on the YOUNG BOY, who looks INTO CAMERA. YOUNG BOY He said he wanted them to kill each other, that all they wanted to do was kill each other and he would help them if that's what they wanted to do -", "EXT. BUILDING/ROOFTOP - DAY - FLASHBACK This is a WIDE ANGLE REPLAY of the whole event. We see the whole bui1ding. Sydney starts to jump and the film suddenly slows down. A diagram is made to reflect the narration. this is done like NFL coverage where the x's and o's and arrows and lines are drawn to indicate placement and moves, etc. -RRB- An x appears on the top of the building over Sydney. NARRATOR Sydney Barringer jumps from the ninth floor rooftop - His parents argue three stories below - An o is marked to indicate their position. Image goes into MOTION with Sydney jumping. an ARROW is drawn that displays the PATH of his fall - NARRATOR Her accidental shotgun blast hits Sydney in the stomach as he passes the arguing sixth floor window - Freeze Frame shows Sydney, hanging mid - air - the glass shattering and starting to fall to the ground - an X marks the spot where he is hit. NARRATOR He is killed instantly but continues to fall - only to find, three stories below - a safety net installed three days prior for a set of window washers that would have broken his fall and saved his life if not for the hole in his stomach. A squiggly line with an arrow is drawn from Sydney to the net to indicate the path - UNFREEZE frame and watch Sydney fall into the net", "INT. APARTMENT - DAY CAMERA moves in on the PARENTS then over to some DETECTIVES and OFFICERS who are making sense of this, they nod to each other as if to say, `` well we know what we have to do.'' NARRATOR So Fay Barringer was charged with the murder of her son and Sydney Barringer noted as an accomplice in his own death. CAMERA moves towards the little EIGHT YEAR OLD BOY as he watches the older couple CRY and SCREAM as detectives begin to cuff them - NARRATOR and it is in the humble opinion of this narrator that this is not just `` Something That Happened.'' This can not be `` One of those things.'' This, please, can not be that. And for what I would like to say, I ca n't. This Was Not Just A Matter Of Chance. CAMERA pushes in towards the MOTHER as she screams and screams and the officer's fight to regain control of her - in the scuffle, the apartment door is shut directly in the face of the CAMERA. CUT TO BLACK. NARRATOR Ohhhh. These strange things happen all the time. Main title que begins, then carries over following until noted : TitIe Card : New Line Cinema presents Title Card : a Joanne Sellar/Ghoulardi Film Company Production Title Card : a P.T. Anderson picture CAMERA DOLLIES IN Super Quick on a flower. -LRB- time lapse, bud blooms -RRB- Freeze Frame, continue w/optical Zoom and rotate 360 degrees.total blur. Flash title card : Magnolia. CAMERA keeps moving in further and farther until the image gets incredibly blurry, then :", "INT. SUBURBAN HOME - DAY (Present Day, 1998) Sequence A CAMERA DOLLIES IN QUICK towards a TELEVISION in a living room. It is playing an infomercial, shot on video with a hot shot guy FRANK T.J. MACKEY -LRB- 30s -RRB- looking into the LENS. FRANK In this big game that we play it is not what you find and it's not what you deserve - It's What You Take. I'm Frank T.J. Mackey, Master of the Muffin and author of the Seduce and Destroy System of audio and videocassettes that will teach you the techniques to have any hard - body blonde dripping to wet your dock! CAMERA moves INTO THE TELEVISION, QUICK DISSOLVE TO :", "INT. BAR SET/LOCATION - THAT MOMENT We are in the video -LRB- paneled 1.33 -RRB- sales pitch/infomercial. Various settings : The bar, a supermarket, a bedroom, a parked car. Each has a few semi - geeks talking to a bunch of sexy young girls. FRANK -LRB- contd. -RRB- Bottom line? Language. The magical key to unlocking any woman's analytical ability and tap directly into her hopes, wants, fears, desires and panties. `` Seduce and Destroy,'' creates an immediate sexual attraction in any muffin you meet. Learn how to make that lady - `` friend'' your sex - starving - servant. Create an instant, money - back guaranteed trance - like state that'll have any little so and so just begging for it. I do n't care about how you look, what car you drive or what your last bank statement says : `` Seduce and Destroy,'' is gon na teach you how to get that naughty sauce you want - fast! -LRB- dramatic stop, then :. -RRB- Hey - how many more times do you need to here the all too famous line of : `` I just do n't feel that way about you.''", "INT. SMILING PEANUT BAR - NIGHT CAMERA moves in on a young woman CLAUDIA -LRB- 20s -RRB- sitting alone, bit drunk. A vaguely creepy looking MIDDLE AGED GUY -LRB- 40s -RRB- takes a seat next to her : MIDDLE AGED GUY Hey. CLAUDIA Hi.", "INT. CLAUDIA'S APARTMENT - LATER A series of quick shots where the following happens. CLAUDIA and the MIDDLE AGED GUY stumble into her apartment. CAMERA DOLLIES in quick as she ~ norts a line of coke from her coffee table. TILT up and PAN over to him. MIDDLE AGED GUY So?", "INT. CLAUDIA'S BEDROOM - MOMENTS LATER CAMERA DOLLIES in quick as they're having sex. He's on top of her, she's below, CAMERA lands in a CLOSE UP of her face as she gets through the experience. CAMERA moves up and past her, finds the reflection of the TELEVISON in a picture frame on her wall.", "INT. TELEVISION IMAGE - CLIP - THAT MOMENT This is a promo for a game show called, `` WHAT DO KIDS KNOW?'' featuring the host JIMMY GATOR -LRB- 60s -RRB- We see various clips of him over the years, hosting the show, at various clebrity events, etc. -LRB- Director's Note -RRB- PROMO ANNOUNCER For over thirty years, America has hung out and answered questions with Jimmy Gator. An American Legend and a true television icon, Jimmy celebrates his 200,000 th hour of broadcast this week - CLIP OF JIMMY speaking to an INTERVIEWER. JIMMY God, have I been around that long?", "INT. JIMMY GATOR'S OFFICE - DAY Blind's closed, door locked. Jimmy and a YOUNG SHOWGIRL from some other show are having sex on his couch. CAMERA DOLLIES IN FAST. PROMO ANNOUNCER He's a family man who's been married for over forty years - with two children and one grandchild on the way - CU. PHOTOGRAPH. A family photo of JIMMY, his wife ROSE, his son JIM, JR. and CLAUDIA. This photo is circa 1987. OPTICAL ZOOM INTO photo that isolates Jimmy and Claudia in the picture.", "INT. CEDARS SINAI MEDICAL CENTER - HALLWAY - PRESENT DAY JIMMY and ROSE -LRB- 50s -RRB- walk down a hallway towards a door. PROMO ANNOUNCER -LRB- contd. -RRB- We've tuned in each day to see the human interaction between Jimmy and some very special kids over the years -", "INT. DOCTOR'S OFFICE - MOMENTS LATER CAMERA pushes in on JIMMY and ROSE as they enter, WHIPS over to a NURSE who looks up, smiles says `` hello.'' PROMO ANNOUNCER -LRB- contd. -RRB- - and we hope there's thirty more years of watching that happen. JIMMY -LRB- to Nurse. -RRB- Jimmy Gator.", "INT. SUBURBAN HOME - DAY CAMERA DOLLIES in towards the televison again. A quick highlight clip shows a ten year old kid named STANLEY SPECTOR answering question after question on the show, `` What Do Kids Know?'' in a series of dissolves. STANLEY Donald W. Winnicott. 1911. North America. South America. the answer is four. the answer is 22. the answer is gravity. the answer is `` The Life of Samuel Johnson.''", "INT. SPECTOR HOUSE - DAY CAMERA is HAND HELD and moving around a small apartment, watching a ten year old kid STANLEY SPECTOR -LRB- dressed in a suit -RRB- as he dumps dog food into two bowls for two dogs yapping around his legs while he simultaneously tries to gather his backpacks - His father enters : RICK SPECTOR -LRB- late 30s -RRB- starts barking directions. RICK Let's go, let's go, let's go, you shoulda done that ten minutes ago - STANLEY We need more dog food - RICK - talk in the car, talk in the car, moves your ass, c'mon - Stanley grabs two BACKPACKS and puts them over each arm. Rick grabs another bag. heads for the door. Stanley is about to fall over with these two full packs, but reaches for another bag on the floor. RICK Cmon, cmon, cmon, that one to? STANLEY I need this one. RICK Why the hell do you need all four bags of books to go to school each day? STANLEY I ca n't carry all of them. I need them. I need my books. I need them to go to school.", "EXT. SPECTOR HOUSE - MOMENTS LATER CAMERA pushes in quick as Rick sits in the car, engine running, watching Stanley struggle to get himself and the backpacks in. RICK There's no reason for this many backpacks. CAMERA LANDS IN CLOSE UP of STANLEY as he slams the car door.", "EXT. SCHOOL - MOMENTS LATER CAMERA PULLS BACK from the parked car in a new location as Stanley gets out of the car with his backpacks, Rick watches from the driver's seat. RICK Be ready at two - STANLEY Should be one - thirty. RICK I got an audition, I wo n't make it here'till two, c'mon, I'll see you later. Love you. STANLEY Love you too. Rick drives off real quick. Stanley looks around at his backpacks.", "INT. 1960's SUBURBAN HOME - DAY CAMERA pushes in on an old television set playing a clip from `` What Do Kids Know?'' -LRB- 1968 -RRB- The clip shows a younger JIMMY GATOR asking questions to a ten year old kid named DONNIE SMITH. JIMMY Donnie, you have an answer? DONNIE Promethius. JIMMY It is! TELEVISION CLIP continues and we see DONNIE and two other KIDS receive a check from the younger JIMMY GATOR in the amount of 100,000 dollars each. CU - Young Donnie Smith as he smiles, accepts check, shakes hands with Jimmy. TITLE CARD reads : Quiz Kid Donnie Smith - 1968", "INT. DENTIST OFFICE/EXAMINING ROOM - MOMENTS LATER DONNIE SMITH, aged 40, is reclined back in a dentist chair. He has spiky hair, a small stud earing and a bad grey suit. TITLE CARD reads : Quiz Kid Donnie Smith - Today DONNIE This is really exiting. bet you do n't get many people my age getting braces - CU - Donnie opens wide and the pink gook - imprint is placed in his mouth. CU - A Nurse holds it in there and smiles, says : NURSE #1 You were really cute when you were on that show - NURSE #2 - you ca n't answer any questions right now though, huh? He - he - he. CU - Teeth. The gook imprint is taken out of his mouth.", "INT. DENTIST OFFICE/HALLWAY - LATER CAMERA pulls back as DONNIE and his dentist, DR. LEE -LRB- Asian, 40s -RRB- exit an examining room, smiling, through with their appointment. DR. LEE So we're all set to go, Donnie. DONNIE Great, great, great, so I'll see you tommorrow morning. DR. LEE You're running around like crazy, huh? DONNIE I'm gon na be late for work.", "EXT. 7-11/PARKING LOT - NORTH HOLLYWOOD - DAY CAMERA pushes in towards Donnie as he pulls into the parking lot in his little HONDA ACCORD. He's smiling and singing along to a song * as he pulls into a parking space. but he's going just a bit too fast. and in a flash, he's over the parking stopper and up on the curb and taps the glass store front just enough to have GLASS FALL AND SHATTER and DISPLAYS FALL OVER ONTO THE HOOD OF THE CAR. CAMERA pushes in on Donnie and some people running over to see what's happend. DONNIE What the hell? What the hell? PEDESTRIAN Hey! It's Quiz Kid Donnie Smith. PEDESTRIAN #2 Quiz Kid Donnie, why'd you drive into the seven eleven?", "INT. EARL'S HOUSE - DAY CAMERA pushes in real fast on the front door as PHIL PARMA -LRB- 20s -RRB- enters. He has a flat top, flip shade sunglasses that he flips up and he's carrying 7 - 11 coffee and a donut. CAMERA WHIPS LFT to reveal. In this nice house in Encino, a medical bed has been planted in the middle of the living room. In the bed is EARL PARTRIDGE -LRB- 70s -RRB- He is very thin and bald and he is on his last legs, dying from cancer. There are four or five MUTT DOGS that sleep on his lap and around the bed and at the sound of the door they are up and BARKING. A young MEXICAN NURSE sits next to Earl, motions to Phil and his post is relieved. Phil moves in next to the bed, pets Earl's head. PHIL How's today then? EARL Fuckin' bullshit is what this is. PHIL Fuckin' bullshit is right, in ` it? CAMERA MOVES INTO A CLOSE UP ON EARL, MOVES INTO HIS THROAT, QUICK", "INT. EARL'S THROAT - THAT MOMENT CAMERA moves around his throat and through his body, looking at his BLOOD STREAM and watching, like a MEDICAL FILM, the cancer as it eats away at his body. as we see it at work we hear a WHISPER that is EARL'S VOICE : EARL'S WHISPER VOICE fuckin regret, move through this life. and we do these things. get that back. forget, forget. fuck. fuck. make it right. and we do these things.", "INT. EARL'S LIVING ROOM - THAT MOMENT CAMERA PULLS BACK from Earl's throat to his MOUTH and his EYES and he looks to Phil says. EARL I'm onna need your help, Phil. you got ta help me something today. CAMERA PANS over quick to PHIL. PHIL I ` II take care of anything, Earl. CAMERA PANS/DOLLIES away and TILTS up to the cieling.", "INT. EARL'S HOUSE/UPSTAIRS BEDROOM - THAT MOMENT CAMERA dollies in on LINDA PARTRIDGE -LRB- 30s -RRB- as she paces around in a nightgown, pops a pill, talks on the phone. LINDA Well, you're his doctor and that's why - well tell me something - tell me something - XCU, She sees the the bottle of pills she is popping from is empty. LINDA -LRB- contd. -RRB- And he needs more pills, then. -LRB- beat. -RRB- Fuck it, I'm coming to see you, I need to come see you to get him more pills and I need some answers so you better just talk to me, I'm coming to see you, I'm coming to see you - She SLAMS down the phone.", "INT. EARL'S HOUSE - LIVING ROOM - MOMENTS LATER CAMERA moves with Linda as she comes down the stairs, walks over towards Earl's bed, trying to hide her state. Phil stands up and looks to her. PHIL Hi, Linda. EXTREME CLOSE UP 2 - SHOT. Linda and Earl. He opens his eyes just a bit. She bends in and gives him a kiss on the forehead. LINDA I love you, my darling. She turns quickly, speaks as she walks out. LINDA I'll be back in a while, Phil. I have to go get some things and I have to see something and I'll be back. She continues to talk as she walks out the door.", "INT. GARAGE/LINDA'S MERCEDES - PARKED - MOMENTS LATER CAMERA DOLLIES IN real quick as she gets behind the wheel. She SMASHES her fists on the steering wheel and cries and cries and cries.", "INT. JIM KURRING'S APARTMENT - DAY A very straight ahead apartment in Reseda where JIM KURRING -LRB- 30s -RRB- lives. SOUND of a 1 - 900 PERSONAL DATING SERVICE plays over following quick shots of Kurring getting ready for his day. - Jim is sipping his morning coffee, reading the paper. - Jim in the shower. - Jim doing push ups. - Jim watching and laughing a bit with the Today Show. - Jim kneeling down by his bed, praying. PHONE SERVICE VOICE Press One to hear this person's personal description of themself and Two to leave a a personal message of your own - The SOUND of touch - tone phone pressing `` 1.'' JIM KURRING'S VOICE Well, hello. This is Jim. I work in Law Enforcement. I am an officer for the L.A.P.D. and I work out of the Van Nuys district. I love my job, and I love to go to the movies. I try to stay pyhsically fit, my job demands it, so I'm in pretty good shape. I'm gettin' up there, though : I'm 32 years old and I'm six feet two inches tall and I weigh about 160. I'm really interested in meeting someone special who likes quiet things. my life is very stressful and I'd hope to have a relationship that is very calm and undemanding and loving - The SOUND again of the touch - tone phone cancels Jim's description. PHONE SERVICE VOICE If you would like to hear more personal descriptions from other men in your area, press two now -", "INT. VAN NUYS POLICE STATION - DAY CAMERA observing the officers at a morning role call, DOLLIES and BOOMS DOWN towards JIM KURRING, sitting off to the side a bit by himself. POLICE CAPTAIN -LRB- OC. -RRB- so much violence. but that's the way of the world. good luck, as always. Serve and Protect and all that other blah - blah - blah on the side of the car it says -", "INT. POLICE GARAGE - MOMENTS LATER CAMERA DOLLIES w/Jim Kurring as he walks to his squad car. All the cops walk with partners, except him. Kurring throws on a pair of Oakley sunglasses and gets in the car -", "INT. POLICE CAR - MOVING - LATER CAMERA holds a CU. of Jim as he drives. He speaks to someone unseen. JIM KURRING This is not an easy job. I get a call from Shirley on the radio : Bad News. It's never good news. She tries to be cheerful, tries to say something nice, but uh - huh, it's just Bad News. And It Stinks. But this is my job. And I Love It. Because I want to do well. In this life and in this world I want to do well. And I want to help people. And I may get twenty bad calls a day. But one time I help someone, I Make A Save? I correct a wrong or right a situation. Then I'm a happy cop. And We Move Through This Life We Should Try And Do Good. WIDER ANGLE reveals that he is talking to himself. BEAT. HOLD. JIM KURRING -LRB- sotto, to himself. -RRB- Do Good. And If We Can Do That. And Not Hurt Anyone Else. Well, Then.", "EXT. MAGNOLIA BOULEVARD - DAY CAMERA looks straight down on an intersection. Jim Kurring's POLICE CAR drives past. a little SUNLIGHT that hits the intersection goes away as if covered very quickly by a grey cloud. End Title Oue and Sequence A. CUT TO BLACK. TITLE CARD reads : Partly Cloudy, 75 % chance of rain", "INT. APARTMENT COMPLEX/NORTH HOLLYWOOD - DAY Sequence B CAMERA -LRB- STEADICAM -RRB- follows behind JIM KURRING. He walks through a courtyard, past some young mexican and black kids playing, up a staircase and arrives at a door that is half open. JIM KURRING Hello? He knocks, pushes the door open a bit, steps in : A very, very large black woman, MARCIE -LRB- 4Os -RRB- appears, coming at him, ranting and raving. MARCIE What? What? What now? JIM KURRING Quietly, slow down, whoa - MARCIE You ca n't just come in here. JIM KURRING The door was open, I got a call - MARCIE You're just come in - JIM KURRING Calm down. MARCIE I am calm. JIM KURRING I got a call to this apartment, report of a disturbance - MARCIE There's no disturbance. JIM KURRING I got a call of a disturbance, you're door was open, I just wan na see what's goin' on - MARCIE There's no disturbance. JIM KURRING Then you've got nothin' to worry about. MARCIE You do n't tell me, I know my rights, just come right in, you ca n't - JIM KURRING Do n't test me, you wan na talk about what the law book says, we can do that, push me far enough and I'll take you to jail - now calm down. MARCIE I AM CALM. JIM KURRING You're not calm. You're screamin' and yellin' and I'm here to check on a disturbance that was reported and that's what I'm gon na do - now are you alone in here? MARCIE I do n't have to answer your questions. JIM KURRING No you do n't : But I'm gon na ask you one more time : Are you alone in here? MARCIE What does it look like? JIM KURRING No one else in here? MARCIE You're here. JIM KURRING OK. That's true. Is anyone else, besides me and besides you in this house? MARCIE No. I said that. JIM KURRING Are you lyin' to me? MARCIE I live alone. JIM KURRING Maybe so, but I'm gon na ask you one more time : Is Anyone Else In This House Right Now? MARCIE No I Said. JIM KURRING Ok. What's your name? MARCIE Marcie. JIM KURRING Ok. Marice why do n't you take a seat for me? MARCIE I preffer to stand. JIM KURRING I'm not askin', Marcie. Marcie sits down. MARCIE I did n't do anything. JIM KURRING Maybe you did n't, but I'm here to find out about a disturbance. Some neighbors called said they heard screaming and a loud crash. MARCIE I do n't know a loud crash. JIM KURRING And what about screaming? MARCIE I said : I DO N'T KNOW. You ca n't just come in here and start pokin' around - JIM KURRING What's this, how did this happen? INSERT, ECU. THE FLOOR. An ashtray has fallen on the floor, cigarette butts all around. MARCIE An ashtray fell, I do n't know, maybe last night, I just woke up. JIM KURRING You just woke up. And what'd you have a party last night, the way this place looks? MARCIE I went out last night. JIM KURRING Ok. Marcie. Starting now I want you to have a new attitude with me. The more you play games, the more suspicious I'm gon na become that you've been up to something. MARCIE It's a free country, you can think anything you want. JIM KURRING Yes I can, Marcie. And until you start givin' me some straight answers : I'm gon na assume that some mischief has been goin' on here. MARCIE Mischief? What the fuck you talkin' about, mischief? JIM KURRING Bad and illegal behavior. That's what I mean. Ok? Mischief. Now have you been doin' some drugs today? MARCIE No. JIM KURRING You on any medication? MARCIE No. JIM KURRING Been drinkin' today? MARCIE It's ten o'clock in the morning - There's a small THUMP noise OC. Jim turns his head quick and looks and Marcie freezes. JIM KURRING - What was that? MARCIE I did n't hear anything. Marcie stands up. JIM KURRING No. No. Stay down, Marcie, sit back down on that couch - MARCIE I do n't have to do a god damn thing. Kurring gets his handcuffs out and handcuffs her wrist to the couch, she goes crazy, screaming and yelling the whole time. MARCIE WHAT'S THIS? WHAT'S THIS? GOD DAMN BULLSHIT. BULLSHIT. DO N'T PUT THOSE - JIM KURRING Marcie - CALM DOWN. CALM DOWN and do n't do this. I want you to stay - Continue with that until he's got her cuffed to the couch. He removes his REVOLVER from his holster and starts to move slowly down the hall to the back bedroom - MARCIE WHAT THE FUCK IS THIS BULLSHIT? WHAT THE FUCK ARE YOU DOING, MOTHERFUCKER? MOTHER - GOD - DAMN FUCKER. WHERE ARE YOU GOIN'? DO N'T GO IN MY GOD DAMN BEDROOM. Kurring keeps moving slowly, gun drawn, CAMERA behind him. JIM KURRING This is the LAPD. If anyone is back here I want you to come out and I want you to show yourself to me with your hands in the air - MARCIE THERE'S NO ONE IN THERE. STAY OUT OF MY MOTHERFUCKIN BEDROOM. Kurring moves into the BEDROOM now and sees that the CLOSET is closed and probably the only place for someone to be hiding. JIM KURRING This is the LAPD, if anyone is in the closet I want you to come out and show yourself to me, slowly and with your hands up - MARCIE -LRB- OC. -RRB- THERE'S NO ONE IN THERE! JIM KURRING Marcie - quiet down! Now if anyone is in the closet, come out now - MARCIE -LRB- OC. -RRB- THERE'S NO ONE IN MY MOTHERFUCKIN CLOSET AND STAY OUT OF MY BEDROOM, STAY OUT OF MY GOD DAMN BEDROOM. JIM KURRING - do not do this - my gun is drawn and If I Have To Open That Closet you will get shot - Step Out Now. Jim inches towards the closet, flips it open real quick and stands back, ready for something to jump out - nothing. MARCIE I told you there was no one in there! Jim looks down the hall at Marcie who has physically dragged the large couch handcuffed behind her. JIM KURRING Marcie - Do not drag that couch any further! JIM'S POV, CAMERA DOLLIES IN SLOWLY TOWARDS THE CLOSET. He pushes some sheets aside and burries around to reveal : A DEAD SKINNY WHITE MAN -LRB- 50s -RRB- curled up in a ball on the floor of the closet. He'd dead and he's been covered in dirty laundry. He has a gag around his mouth. HOLD on Jim for a moment, he panics a little and swings his REVOLVER towards Marcie : JIM KURRING What the hell is this Marcie? MARCIE THAT'S NOT MINE. Jim swings the aim of his gun back at the dead body.", "INT. EARL'S HOUSE - LIVING ROOM - DAY Earl in bed, pretty out of it, but once in a while a couple clear moments. Phil sits next to the bed, paper and coffee nearby. EARL n' I dowanna do this. sit here, I can see the things, y' know. it's gettin' there that's the cocksucker. like. I see that pen. I see it, I know it's there, I reach out for it - no - He mimes the action, gets nowhere near the pen. EARL no. no goddamn use. -LRB- beat. -RRB- I have a son, y' know? PHIL You do? EARL ah. PHIL Where is he? EARL I do n't know. I mean, he's around, he's here, in town, y' know, but I do n't know. he's a tough one. very. Do you have a girlfriend, Phil? PHIL No. EARL Get a girlfriend. PHIL I'm trying. EARL And do good things with her. share the thing. all that bullshit is true, y' know. find someone and hold on all that. Where's Linda? PHIL She went out. She said she went out to run some errands. She'll be back. EARL She's a good girl. She's a little nuts, but she's a good girl I think. She's a little daffy. PHIL She loves you. EARL ah. maybe. yeah. she's a good one. PHIL When was the last time you talked to your son? EARL I dunn. o. maybe ten. five, fuck, fuck. that's another thing that goes - PHIL - memory? EARL Time lines, y' know? I remember things but not so - right there - y' know? PHIL Yeah. EARL `` yeah.'' the fuck do you know? PHIL I've seen it before. EARL Other fuckin' assholes like me. PHIL There's no asshole like you. EARL cocksucker. PHIL How come every word you say is either `` cocksucker,'' or `` shitballs,'' or `` fuck?'' EARL Do me a personal favor - PHIL Go fuck myself? EARL You got it. EARL gets hit with something and starts to MOAN a bit. Sharp pain hitting him and he touches his hand to his face. EARL I ca n't hold onto this anymore. PHIL I'll get you another pain pill. Another morphine pill - EARL gim me that fuckin' phone. PHIL Who are you gon na call? EARL I wan na see this. where is he, do you know? PHIL Who? EARL Jack. PHIL Is Jack your son? Earl does n't answer. He's drifting a bit more now. PHIL You wan na call him on the phone? We can call him, I can dial the phone if you can remember the number - EARL - it's not him. it's not him. He's the fuckin' asshole. Phil. c ` mere. Phil leans in closer to Earl. EARL This is so boring. so goddamn. and dying wish and all that, old man on a bed. fuck. wants one thing : PHIL It's ok. Earl hallucinates a bit, cries a little, tries to form the sentences. EARL find him on the. Frank. His name's Frank Mackey - PHIL Frank Mackey. That's your son? EARL that ` snotmy name. find Lily, gimmme that, give it - Earl tries to grab something near Phil's head that is not there. He's hallucinating more now, falls asleep a bit, mumbling. EARL ifyougimmethat. overonthe. fuck. I ca n't hold ontothis anymore. He gives Phil make an imaginary object and falls asleep. BEAT. Stay with Phil a moment as he turns his head, looking around the house a moment, looks back to Earl.", "INT. BURBANK HOLIDAY INN/BANQUET ROOM - THAT MOMENT FRANK steps into a CLOSE UP and holding a mic, says : FRANK Respect the cock and tame the cunt, boys. REVERSE, THAT MOMENT. The crowd of fifty GUYS who are taking the `` Seduce and Destroy Seminar'' that Frank is teaching today laugh and play along. Frank is on a slightly elevated stage. vBehind him a huge banner for, `` Seduce and Destroy,'' whose logo is a scared pussycat and a large wolf with a big buldge in his fur. It reads : `` No Pussy Has Nine Lives''. FRANK And you did hear me right. Tame it. Take it on, head first - with your skills at work and say, `` No. You will not control me. You will not take my soul and you will not win this game.'''cause it is a game, guys, you wan na think it's not - go back to the schoolyard and have a crush on Mary Jane - respect the cock - you are embedding this thought : I'm in charge. I'm the one who says yes, no, now or here. Shit, man. Sad but true. Sad But True. And you wan na know what? It must be the way. The thing about chicks and the thing about this course that we're going through today is how universal the whole thing is. I mean : I wish I could sit here and say that it's not - because the reality? If each chick had something new, something really new that I'd never seen before? Fuckin' hell : I'd be in the money! Because I'd have to create a hundred new cassettes, a hundred new books, a hundred new seminars and hundred new videos just to deal with each and every situation a chick could create - but that is just not the case. They are universal. They are sheep. They are to be studied and watched - they have patterns that must be stopped, interupted and resisted. I'd be makin' a fuckin' butt load if they were actually as much of a challenge as they want you to think they are! Reality : They Are All The Same. Each and every one of them. And once you learn these methods : You're Set. You Do n't Have To Come Back. That's it. In solid. Boom. Done. Over. Why? Because all women are the same. Period. End of discussion. Sorry. It's true. Sad But True. And anyone who wants to say that these methods we work by are `` unfair?'' Yes, they are. Guilty as charged. And so's the world. It's a harsh, hard unfair place, but it's not gon na stop me from getting my fair shair of hair pie - Period. Sorry. End of discussion.", "INT. HOLIDAY INN/LOBBY - THAT MOMENT Sliding doors open in the lobby and a young woman GWENOVIER -LRB- 30s -RRB- enters, takes off her sunglasses and looks around. There's a bunch of Posters and Signs for the `` Seduce and Destroy Seminar with Frank TJ Mackey,'' etc.. Frank's two sidekicks : DOC -LRB- 20s -RRB- and CAPTAIN MUFFY -LRB- 40s -RRB- approach. CAPTAIN MUFFY You're Gwenovier? GWENOVIER Yeah. CAPTIAN MUFFY I'm Captain Muffy, I'm Frank's personal assistant. This is Doc - DOC Hello. GWENOVIER Hello. CAPTAIN MUFFY We can go right in here. He started about thirty five minutes ago, but it's all getting pumped up now -", "INT. HOLIDAY INN/BANQUET ROOM - THAT MOMENT Captain Muffy, Doc and Gwenovier enter and head tor some seats, CAMERA swings a 180 and moves down the aisle, towards the stage as Frank speaks - FRANK Number One : Get a calendar. I can not stress this enough. This is a simple item guys. It's 99 cents at your corner store : Go And Get One. Fuck it, if you reach into your packet, you'll see I've been nice enough to include one,'cause that's the kind of prick I am - You're gon na need this calendar and I know it sounds like a small thing, but having it makes all the difference in the world : If you meet a girl and you're gon na work an A - 3 Interuption - let's say an eight day waiting period before the next call - how you gon na know when those eight days are up? Buy a calendar. Next move? Mark the calendar. Yeah, yeah, yeah. What did I pay my eight hundred dollars for? To hear Frank tell me to buy a calendar and mark it? Just stick with me and stick by the calendar. Mark it up - use it to set goals - If you wan na make that `` friend'' something else - you got ta be hard on yourself, set goals :. -LRB- beat, to audience. -RRB- You, there : And What's Your Name?", "INT. EARL'S HOUSE/OFFICE - THAT MOMENT Phil flips through a little adress book, finds a number. XCU - It reads, `` Frank 8/509 - 9027'' He picks up a phone and dials. FEMALE VOICE Hello? PHIL Hi. Is Frank there? FEMALE VOICE I think you have the wrong number. PHIL I'm looking for Frank Mackey. FEMALE VOICE No. PHIL Is this 509 - 9027? FEMALE VOICE Yeah. You have the wrong number. There's no one named Frank here. PHIL Alright. Thank you. FEMALE VOICE Yep. Phil hangs up the phone.", "INT. HOLIDAY INN/BANOUET ROOM - THAT MOMENT. CAMERA with Gwenovier as she walks quietly over to the side of the crowd to a VIDEO CREW that's been set up and is recording Frank's seminar. She speaks sotto to a CAMERAMAN. GWENOVIER Sorry I'm late - CAMERAMAN - we're all set upstairs. GWENOVIER Thanks. She moves towards a row and takes a seat next to Captain Muffy and Doc, speaks sotto again. DOC You have everything you need? GWENOVIER I'm set, thanks. CAMERA moves away, Frank is kneeling down to a GUY in the audience, interacting, speaking compassionately. FRANK Denise? GUY That's right - FRANK - and she hurt you did n't she? I know, I know. I know how that can be brother, but let me tell you loud and clear what we will be teaching Denise when we put our calendars to work and set goals : Frank hops back up on the stage. FRANK Little Denise, I say this : I mark it up and I write it down and you've been warned : `` By the end of May, you will know I'm not gay.'' `` On the fourth of June, Denise, you're gon na be lickin' my spoon.'' `` And Come August, You Suck My Big Fat Sausage.'' I've SET GOALS FOR MYSELF. And what? I've said `` enough is enough.'' Because why? She's not gon na be your pal. She's not gon na be your friend. You think she's gon na be there for you the second you need something? Think again - this fuckin' bitch Denise! -LRB- audience cheers. -RRB- But : Listen up : That is not to say that we do n't all need women as friends,'cause we're gon na learn later on in Chapter 23 that having a couple of chick - friends laying around can come in real handy in setting Jealousy Traps. But we'll get to that. Number One. -LRB- this is page 18 in your booklets, blue cover - go to it and follow along with me. -RRB- The guys flip open their little blue booklets and follow along. FRANK Create a crisis - simple and clean, and if done properly can be quite effective in getting some bush. Here we go : Set a date with your so - called `` friend.'' Let's say you make it 7:30. You call her on the phone -", "INT. GIRL'S APARTMENT - NIGHT CAMERA DOLLIES AROUND a young GIRL -LRB- 20s -RRB- on the phone. GIRL That sounds like fun, Frank. I love seafood.", "INT. FRANK'S APARTMENT - NIGHT Frank on the phone. FRANK So I'll see you about 7:30? Great, then. Bye - bye, Cindy. He hangs up.", "INT. GIRL'S HOUSE - ANOTHER NIGHT CAMERA -LRB- HAND HELD -RRB- follows behind the GIRL as she walks from the kitchen to the front door, shaking her head, huffing and puffing. FRANK -LRB- VO. -RRB- You wait until about nine o'clock and you ring the doorbell. She opens the door and sees FRANK, crying and hysterical. FRANK -LRB- VO. -RRB- She opens it up, pissed as hell, but finds you sobbing your eyes out - Frank looks up at her and says : FRANK I ca n't believe what happened. Frank and the Girl sit down on the couch together. FRANK -LRB- VO. -RRB- You explain between sobs that you hit a dog on the way over to pick her up and you had to rush it to the animal hospital but by the time you got there - FRANK and it's paw was sticking out. and it was too late. It was too late. She moves in and hugs him. GIRL Ohhh, shhhh. shhh. Frank.", "INT. HOLIDAY INN/BANQUET ROOM - THAT MOMENT Frank is cracking himself up. He continues. FRANK I ca n't believe I'm telling you guys this, but the truly terrifying part is that : THIS WORKS. Any girl that calls herself your friend is not gon na let you be alone in a situation like that. Technique # 2 : Staging a fight. This is not knock down, drag out, crying screaming, yelling - this is a simple, direct and subtle way of planting confusion into a girl's mind. Remember we are using reinforcement technique `` G'' with these women. Here's how :", "INT. GIRL'S HOUSE - NIGHT The Girl picks up her phone and presses some numbers. FRANK -LRB- VO. -RRB- One day, she calls you up on the phone.", "INT. FRANK'S HOUSE - NIGHT Frank picks up the phone. FRANK Hello? GIRL Hey, Frank. It's Cindy. I'm wondering if you wan na grab a bite and see a movie? FRANK -LRB- VO. -RRB- You very directly say : FRANK `` I do n't think I have anything to say to you, Cindy.'' Frank hangs up the phone.", "INT. GIRL'S HOUSE - THAT MOMENT The Girl gets the dial tone. She looks completely confused and hurt.", "INT. HOLIDAY INN/BANQUET ROOM - BACK TO SCENE Frank speaking to the group : FRANK Let her wonder what she did wrong. CAMERA DOES A SLOW DOLLY IN. Frank's tone changes a bit, gets darker : FRANK This is the way. because they will always wonder, `` What did I do?'' `` What could I have done different?'' `` How should I behave to get this back?'' And if they think that way - then they are asking for you to hurt them and That Is What You Must Do. That is what you must do which is punish them many, many times over.", "INT. CEDARS SINAI MEDICAL CENTER - HALLWAY - DAY CAMERA pushes in as LINDA walks towards us, down the same hallway we saw Jimmy Gator walking down earlier, she heads into an office -", "INT. DOCTOR'S OFFICE/RECPETION AREA - MOMENTS LATER CAMERA pushes in on Linda as she enters, WHIPS over to a RECEPTIONIST who looks up. RECEPTIONIST Mrs. Partridge - LINDA I'm here and I need to see him.", "INT. DOCTOR'S OFFICE - MOMENTS LATER Quick shots get them in the room : DR. LANDON -LRB- 40s -RRB- sits across from LINDA, who's in semi - hysterics, pacing. LINDA - he's fucking dying, he's dying as we're sitting here and there is n't a fucking thing - jesus, how can you tell me to calm down? DR. LANDON I can help you through this the best I know how but there are certain things you are gon na have to be strong about and take care of, now we can go over them, but I need to know that you're listening to me, ok? LINDA I just, I just - I just - I'm just in a fucking state, I know he's going and it's like I do n't know how - just tell me practical things - What the fuck do I do with his body? What happens when he dies? That next moment : What? What do I do? Then What? DR. LANDON Well that's what Hospice will take care of for you. They will send a nurse, someone who can take care of all of that for you - LINDA He has Phil right now. DR. LANDON Phil's one of the nurses from the service? LINDA Yeah. DR. LANDON If you're happy with Phil taking care of him and helping you, that's fine, but contact Hospice to arrange for the body - LINDA - you do n't understand : it's more pain than before and the fucking morphine pills are n't working, he's - past two days it's like he ca n't really swallow them and I do n't know if they're going down - I ca n't see inside his mouth anymore - I'm up all night staring at him and I do n't think the pills are going down and he moans and he hurts - DR. LANDON We can fix that, because I can give you - are you listening? LINDA I'm listening. I'm getting better. DR. LANDON Do you wan na sit down? LINDA I need to sit down. DR. LANDON Ok. Linda : Earl is not gon na make it. He's dying. He is. He is dying very, very rapidly - She breaks a bit more. DR. LANDON Now the thing here is making that experience as painless and easy as possible for him, you understand? Now you need to get in touch with Hospice care because they can take care of all those practical things that you're asking me about - they are who you call when he dies. He writes a number on his bussiness card, hands it over as they speak. DR. LANDON This is the number for Hospice. Ok. Now. As far as the morphine pills go, there is something else to consider that can take the pain away that he is in, there is a very strong and very potent solution of liquid morphine. it's a little bottle, with an eye dropper and it's easy to get in his mouth and drop on his tounge and it will certainly diminish the pain that he is in but you have to realize that once you give it to him. there really is no coming back, I mean, it will certainly cure his pain, but he will float in and out of consciousness, even worse than he is now, Linda. I mean, any sign of the recognizable Earl will pretty much go away - LINDA - how the fuck can I say anything to that - I do n't know what to say to that - DR. LANDON The job here is to make him as comfortable as possible - right now - our job is to just try and make it as painless as possible. Right? You understand? CAMERA pushes into an EXTREME CLOSE UP on Dr. Landon's hands writing the perscription for the liquid morphine. hands it to Linda.", "INT. JIMMY'S JAGUAR - PARKED - DAY CAMERA holds a CU on Jimmy sitting behind the wheel. He hesitates a moment, exits the car.", "EXT. CLAUDIA'S APARTMENT/STAIRWELL - MOMENTS LATER CAMERA holds looking down a staircase. Jimmy enters FRAME, walks up to the second floor, stands a moment, then knocks.", "INT. CLAUDIA'S BEDROOM - THAT MOMENT CAMERA DOLLIES in on the bed. Claudia's asleep. The MIDDLE AGED GUY is lying next to her in his underwear. He hears the door, wakes.", "EXT./INT. CLAUDIA'S APARTMENT - THAT MOMENT Jimmy knocks again. after a BEAT. the door is opened by the MIDDLE AGED GUY. He stands in his underwear. MIDDLE AGED GUY Hello? JIMMY Hello. Is Claudia here? MIDDLE AGED GUY She's asleep. BEAT. JIMMY Are you her boyfriend? MIDDLE AGED GUY You're Jimmy Gator, right? JIMMY Yes. What's your name? MIDDLE AGED GUY I'm Bob. JIMMY You're her boyfriend? MIDDLE AGED GUY No, I'm just a friend. What are you doing here, I mean. you know Claudia? JIMMY I'm her father. The Middle Aged Guy looks a bit confused. JIMMY Can I come in? MIDDLE AGED GUY Yeah. She's sleeping now, I mean - Jimmy steps inside, looks around the place, sees the coke and some pot and pills sitting out on the coffee table. MIDDLE AGED GUY Want me to wake her up? JIMMY I ` II go. is it. back here? The Middle Aged Guy points Jimmy to the back bedroom.", "INT. CLAUDIA'S BEDROOM - THAT MOMENT Claudia is asleep. Jimmy enters, stands near the edge of the bed. After a moment, Claudia's eyes open, look over and see Jimmy. CLAUDIA what the fuck is this? JIMMY It's me. Claudia. It's me. She sits up a bit, covers herself, looks past him and sees the Middle Aged Guy, sitting in his underwear in the living room, watching them. She looks back to Jimmy. CLAUDIA What do you want? Why are you here? JIMMY I'd like to talk to you. Your boyfriend let me in, I just knocked on the door - CLAUDIA He's not my boyfriend. Jimmy hesitates a beat, then : CLAUDIA Wan na call me a slut now, something? JIMMY No. No. She starts to move towards tears, nervousness. CLAUDIA What the fuck do you want? JIMMY I want to sit. I want to talk to you. CLAUDIA Do n't sit down. JIMMY I want to. I want so many things, Claudia. Maybe we can just talk to straighten our things out. there are so many things that I want to tell you - CLAUDIA I do n't wan na talk to you. JIMMY Please. It does n't have to be now. Maybe we can make a date to sit down, I did n't mean to walk in on you like this - CLAUDIA Why are you here, why are you doing this? Coming in here - you wan na call me a whore? JIMMY I do n't want you to think that I'm that way to you - I'm not gon na call you a slut or something - CLAUDIA Yeah, yeah right - what the fuck are doing? WHAT THE FUCK ARE YOU DOING IN MY HOUSE? JIMMY Do n't yell, honey. Please do n't go crazy - CLAUDIA I'M NOT CRAZY. Do n't you tell me I'm crazy. JIMMY I'm not saying that, I'm sorry - CLAUDIA I'M NOT CRAZY. You're the one. You're the one who's wrong. You're the one - JIMMY I have something, so much - I'm sick, Claudia. I'm sick. CLAUDIA Get out of here, get the fuck out of my house - JIMMY Now STOP IT and LISTEN to me right now. I AM DYING, I GOT SICK. now I fell down and I'm Not. DO N'T - CLAUDIA GET THE FUCK OUT. JIMMY I'm dying, Claudia. I have cancer. I have cancer and I'm dying, soon. It's metastasized in my bones and I - CLAUDIA FUCK YOU. FUCK YOU, YOU GET OUT. JIMMY I'm not lying to you, I'm not - CLAUDIA FUCK YOU. YOU GET THE FUCK OUT OF HERE. JIMMY baby, please, please - CLAUDIA I'M NOT YOUR BABY, I'M NOT YOUR GIRL. I'm not your fuckin' baby - She moves up in the bed, exposes a bit of her breast, tries to cover herself - JIMMY Please put your clothes on, please - CLAUDIA YOU BURN IN BELL. You burn in hell and you deserve it - YOU GET THE FUCK OUT. JIMMY Honey. CLAUDIA GET OUT. BEAT. He stands a moment. JIMMY Your mother wants to hear from you - CLAUDIA GET THE FUCK OUT OF HERE. He walks out of the bedroom, past the MIDDLE AGED GUY, who's sitting on the couch. JIMMY I'm sorry. MIDDLE AGED GUY It's alright. Jimmy exits. Claudia is shaking and crying and holding herself in the covers of the bed. The Middle Aged Guy snorts a line of coke, looks into her. CLAUDIA Can you get your shit and leave, please?", "INT. SOLOMON AND SOLOMON ELECTRONICS - DAY CAMERA pushes in as Donnie Smith runs in the door, brushes his hair back, etc.. This is a `` Good Guys'' type electronics place. He rushes towards the back. ANGLE, DOOR TO BACK ROOM. CAMERA pushes in real quick and tilts down as Donnie reaches to his belt and his KEY HOLDER -LRB- one of those attached to string on the belt -RRB- He inserts the KEY.", "INT. BACK HALLWAY - SOLOMON AND SOLOMON - THAT MOMENT Donnie enters, walks swiftly down the hall to another door. Just before he reaches it, AVI SOLOMON -LRB- 30s -RRB- appears at the end of the hall. AVI Don. Donnie stops short, looks. Avi gives him the `` follow me'' finger. DON Hey, Avi. I'll be right there. Avi goes back in the room he came from. Donnie does the KEY and CODE thing now on this door.", "INT. DRESSING ROOM/EMPLOYEE LOUNGE - MOMENTS LATER Donnie is changed into his Solomon and Solomon Electronics vest and name tag. He brushes himself up, sweating a bit. -LRB- Note : ON HIS BACK -RRB- DONNIE This is going to be ok. This is. This is.", "INT. SOLOMON'S OFFICE - MOMENTS LATER Donnie sitting across the desk from SOLOMON SOLOMON -LRB- 40s -RRB- owner of the store. Avi, his brother, stands nearby. DONNIE please. SOLOMON Do n't Donnie. Do n't do it. Donnie swells up a bit, about to cry. DONNIE This is so fucked, Solomon. I do n't deserve this. SOLOMON Do n't get strong, Donnie. This is making sense, this making a lot of sense. You are not doing the job, the job I ask you to do, a job I give you. Over and over and over and I'm sorry. But I'm not gon na say I'm sorry that much more. DONNIE Solomon : I am in the middle of so much. So much in my life and this is - If you do this, if you fire me : I Am Fucked. I ca n't really explain much, but please, please, I've worked here for four years, four years I've given you and I'm, I'm, I mean what? I'm sorry I was late. I had a car accident. I accidentaly drove into a seven - eleven. It was not my fault. AVI Who's fault was it, Don? SOLOMON Avi, please, shut the fuck up for one second. Don, how much further do you want me to go in showing you, showing you what I've done for you in four years and what you've done back? Do you want me to do it? I can. The loans I've given, how much your sales are, how late you are, over and over, loosing the keys to the Covina store - DONNIE I do n't have any money, Solomon. If you fire me - SOLOMON - I give you money, I give you a paycheck. Your sales suck, Don. I give, I give. When I find you, when I meet you, what? I put you on the billboard, I put you in the store, my salesman, my fucking representation of Solomon and Solomon Electronic, Quiz Kid Donnie Smith from the game show - DONNIE I lent my name, my celebrity. Exactly - SOLOMON FUCK YOU. I pay you, I paid you. I give you a fucking chance and a chance and over and over, over you let me down. I trust you with so much. The keys to my store, the codes to my locks, the life, the blood of my bussiness and return is smashing in seven - eleven, late, always late, loans - I loaned you money for your kitchen that you never did - DONNIE I paid you back. SOLOMON Two years! Two years later and out of your paycheck, I never charge interest - DONNIE Solomon, please. Please. I am so fucked here if you do this. This is the worst timing. The worst timing I could ever imagine. I need to keep working. I have so many debts, so many things, I have, I have, I have - I have surgery - I have my oral surgery coming - AVI What surery? DONNIE Oral surgery. Corrective teeth surgery. SOLOMON What is that? DONNIE Braces. SOLOMON Braces? DONNIE Yes. SOLOMON You do n't need braces. DONNIE Yes I do. SOLOMON Your teeth are fine. AVI Your teeth are straight. DONNIE I need corrective oral surgery. I need the braces. AVI Don, you got hit by lightning that time in Tahoe, you went on vacation, I do n't think braces is a good idea - DONNIE I ca n't believe you're gon na do this to me, the situation I'm in, I do n't - Avi : You know what? Being hit by lighting does n't matter for getting braces, ok? Now Solomon, let me just ask you once : Please. Please. Do n't do this. AVI How are you paying tor the braces, Donnie? DONNIE I do n't know. SOLOMON And how much is braces? DONNIE It's. does n't matter. AVI It's like five thousand dollars, I've seen it, I know - SOLOMON You're pissing me off, Don. This is so unbelievable - so fucking stupid, you're gon na spend five thousand dollars on braces you do n't need - DONNIE I've been a good worker - SOLOMON Do n't do this, Don. AVI No need for braces, Donnie. SOLOMON Where are you getting the money for this? DONNIE I do n't know. SOLOMON You were gon na ask me were n't you? DONNIE I've been a good worker, Solomon. A hard and loyal - AVI No need for braces, Donnie. DONNIE THAT'S NONE OF YOUR BUSSINESS. I HAVE BEEN A GOOD WORKER, A GOOD AND LOYAL WORKER FOR YOU, YOU FUCKING ASSHOLE. AVI HEY FUCK YOU DON WATCH IT NOW. SOLOMON Give me your keys, Don. DONNIE PLEASE DO N'T DO THIS! SOLOMON GIM ME YOUR FUCKIN' KEYS. BEAT. Donnie tries to calm himself, hold back tears, stands up. He struggles with his KEY CHAIN and finally after a bunch of moments, hands over six or seven keys. CU. INSERT, KEYS. placed on the desk.", "INT. APARTMENT COMPLEX/NORTH HOLLYWOOD - THAT MOMENT CAMERA hangs inside bedroom w/Detectives and Investigators and County Coroner folks as we go through in a series of quick shots. -LRB- Director's Note : very technical here. Snapshots, ECU's on body, procedure, etc. -RRB- * See County Coroner videotape. IN THE LIVING ROOM CAMERA pushes in past DETECTIVES and OFFICERS who are exchanging information. CAMERA moves towards Jim Kurring, standing off a bit now, usless to the investigation as far as everyone else is concerned, but listening carefully to what they say : OFFICER Identified as Porter Parker, aged 59. Better known as the dead guy in the closet. So says the building guy, this is her husband - DETECTIVE #2 - he's does n't live here, but he comes around, raises shit, screaming, yelling, something or other - OFFICER There's a son, apparently. And a kid. DETECTIVE #1 Her son? OFFICER Her son, that's right. and the kid. And they were here and around and from late last night and through the morning, it's screaming and yelling - DETECTIVE #1 And Where Are They? DETECTIVE - they are not to be found. CORONER WOMAN - she's got six hundred dollars and a large box of condoms next to the bed - OFFICER #1 And three wedding rings. DETECTIVE #1 Ok. CORONER WOMAN - guys come in, out and around all day, this is the building guy talking - OFFICER The building guy says The Son and The Closet guy are always goin' at it - CORONER WOMAN That's right. DETECTIVE #1 And what is she saying? OFFICER Not a god damn thing. CAMERA lands CU on Jim Kurring. ANGLE, COURTYARD AREA - THAT MOMENT Another set of Detectives/Officers/Investigators are standing over Marcie, who sits handcuffed. She has her best, `` I'm not saying anything'' face on. Again, they're OC througout. OFFICER #2 Why did you kill him, Marcie? DETECTIVE #3 Did you kill him? OFFICER #2 Did he hurt you, did he do something? DETECTIVE #4 How long's he been in there? DETECTIVE #3 You're hurting yourself, Marcie. OFFICER #3 You have the dead body of your husband in the closet of your apartment, Marcie. OFFICER #2 That Is Not Good. DETECTIVE #3 You hit him with the ashtray, you strangled him - DETECTIVE #4 - tell us he fell and hit his head, but tell us something, Marcie. OFFICER #2 Why did you kill him? The Main Detective from previous steps into FRAME, says : DETECTIVE #1 - Marcie : Where's your son? Marcie? Marcie? Marcie tell us where your Son is now. Marcie tell us where your son is. CAMERA arrives CU on Marcie. MARCIE I wan na talk to my motherfuckin' lawyer. ANGLE, STREET OUTSIDE APARTMENT COMPLEX - LATER The investigation is wrapping up now and CAMERA -LRB- STEADICAM -RRB- moves with Jim Kurring as he heads towards his squad car, talking into his WALKIE TALKIE. -LRB- Dir. Note : technical info re : disturbance at adress/Jim takes call/etc. -RRB- WALKIE VOICE 4277 Tujunga. JIM KURRING 10 - 4. Out of the group of neighborhood lookie - lo's comes a little black kid who starts walking alongside Jim Kurring as they head away from the scene - this is DIXON, age 10. He's very small for his age and he carries one of those boxes filled with Candy Bars he's trying to sell. They walk/talk. DIXON How much you pay me for my help? JIM KURRING I think it's more complicated than that little man. DIXON Put me on the payroll, find out, find out wassup - JIM KURRING You do n't just sign up to be a police officer - it's about three years of training - ok? DIXON I'm trained, I'm ready to go, you wan na buy some candy to help underprivelaged youth in the - JIM KURRING Sorry, little man. DIXON You wan na take my statement, I'll perform for you, got ta get paid though, got ta get PAID. JIM KURRING Why the hell are n't you in school? DIXON No school today. My teacher got sick. JIM KURRING They do n't have substitute teachers where you go to school? DIXON Nope. So what'd they find out in there? JIM KURRING That's confidential information, little man. DIXON Tell me what you know, I'll tell you what I know - JIM KURRING No Can Do. DIXON Leave this one to the detectives, they ai n't gon na solve shit, I can help you, make you the man with a plan, give you the gift that I flow - think fast - you wan na know who killed that guy? Jim Kurring stops at his Squad Car, turns to Dixon. JIM KURRING Ok. Listen. You : c ` mere. DIXON No. JIM KURRING You wan na disrespect an officer of the law? DIXON I can help you solve the case, I can tell you who did it. JIM KURRING Are you a joker? huh? Tellin' jokes? DIXON I'm a rapper. JIM KURRING Oh, you're a rapper, huh? You got a record contract? DIXON Not yet - `` give you the clue for the bust if you show me some trust -'' JIM KURRING Have you ever been to Juvenille Hall? DIXON I ai n't fuckin with you - JIM KURRING Hey. Watch the mouth. Watch it. DIXON C'mon, man, just watch me, watch and listen - JIM KURRING Go. Hurry up. Let's go. Dixon places his box of candy down and starts dancing around. Jim Kurring stands beside his squad car. DIXON Presence - with a double ass meaning gifts I bestow, with my riff, and my flow but you do n't hear me though think fast, catch me, yo cause I throw what I know with a Resonance - fo ` yo ` trouble - ass fiend in weenin yo - self off the back of the shelf Jackass crackas, bodystackas dicktootin niggas, masturbatin' yo trigga butcha y' all just fake - ass niggas - JIM KURRING - watch the mouth, homeboy, I do n't need to hear that word - DIXON - livin' to get older with a chip on your shoulder ` cept you think you got a grip, cauze you hip got ta holster? Ai n't no confessor, so busta, you best just Shut The fuck up, try to listen and learn - JIM KURRING Alright, alright, cut it, coolio. That's enough with the mouth and the language. DIXON I'm almost done. JIM KURRING Finish it up without the lip. DIXON Check that ego - come off it - I'm the profit - the proffesor Ima teach you ` bout The Worm, who eventually turned to catch wreck with the neck of a long time oppressor And he's runnin from the devil, but the debt is always gaining And if he's worth being hurt, he's worth bringin' pain in - When the sunshine do n't work, the Good Lord bring the rain in. HOLD ON KURRING. DIXON Now that shit will help you SOLVE the case. JIM KURRING Whatever that meant, I'm sure it's real helpful Ice - T. Kurring gets behind the wheel, Dixon hustles over. DIXON Did you listen to me? JIM KURRING I was listening - DIXON - I told you who did it and you're not listening to me. JIM KURRING - and I'm through playin' games. Kurring closes his door and drives off. -LRB- Director's Note : Reference notes for SOUND design here, carries over cut. -RRB- MUSIC QUE starts, builds over the following cut and through sequence.", "INT. SCHOOL LIBRARY - DAY Sequence C CAMERA PUSHES IN SLOW on STANLEY as he sits at a desk. piles of books spread out in front of him. OVERHEAD ANGLE, LOOKING STRAIGHT DOWN ONTO : All the books he has in front of him, we catch glimpses of things : `` How Things Work'' `` Forensic Studies'' `` The Guiness Book of World Records'' `` The Natural History of Nonsense'' `` Weather'' `` Learned Pigs.'' INSERT, CU. IMAGES of the book about weather. CAMERA scans, dissolves and moves around various images of ancient BAROMETERS, HYGROMETERS from the 1700's. We see 16th Century French comic strips regarding weather as cartoon characters. Aristotle pointing to the sky. Scan past the words,''. our quest to understand and predict the weather reaches back to the Stone Age.'' CU - Stanley's face as he reads. SLOW ZOOM IN. CU - School Bell RINGS. CU - He grabs his books.", "EXT. SCHOOL - PICK UP AREA - MOMENTS LATER CAMERA -LRB- STEADICAM -RRB- follows behind Stanley as he heads, with all his backpacks, towards Rick, who's waiting in the car - RICK C'mon, man. STANLEY You're late, not me. RICK You coulda been in front - STANLEY - I did n't see you from the window. Rick helps him get the bags in the car. CAMERA stays real TIGHT following STANLEY'S FACE. he sits in the car. OC we hear Rick getting in the driver's seat and starting the enqine. little droplets of RAIN start to fall on the windshield. RICK -LRB- OC. -RRB- You ready to keep winning? STANLEY Sure. STANLEY is driven away, OUT OF FRAME.", "EXT. SKY - DAY CAMERA looking straight up. It starts POURING RAIN real hard right INTO CAMERA. SLOW ZOOM IN. hold until it's just a WASH OF WATER. Title Card reads : Temperature/Percipitation reading / wind direction/weather info/humidity/etc", "EXT./INT. TELEVISION STUDIO - SECUIRTY ENTRANCE - MOMENTS LATER CAMERA -LRB- STEADICAM -RRB- follows behind Stanley and Rick as they run in from the rain, through some sliding glass doors, past a SECURITY GAURD who buzzes them into another set of doors - They enter a hallway with a bunch of production offices, walking swiftly, shaking their wet clothes. the contestant coordinator comes walking towards them : CYNTHIA -LRB- 30s -RRB- CYNTHIA There you are, there you are. RICK Sorry we're late, Cynthia. CYNTHIA Nothin' to it, no problem. How you doin' Stanley? STANLEY I'm fine. Yes. I'm fine. CYNTHIA Ready to go, go, go? STANLEY Where's Richard and Julia? CYNTHIA They're here, they're fine. In the dressing room. -LRB- to Rick. -RRB- See you later - Rick gives Stanley a pat on the head. RICK Go to it, handsome. STANLEY See you. CAMERA holds with Rick, does a 180 around him, he turns his back to us now, walks a bit, enters a door, into - THE PARENTS GREEN ROOM Rick greets the other two kids parents : RICHARD'S MOM -LRB- overhweiqht, 50s -RRB- and RICHARD DAD -LRB- same -RRB- JULIA'S DAD and JULIA'S MOM -LRB- 50s -RRB- RICK Who's ready to beat the record? RICHARD'S MOM Jesus you scared us! JULIA'S DAD That was close. RICK It's fuckin cats and dogs out there - JULIA'S DAD Cats and Dogs, indeed. CAMERA picks up with a young PRODUCTION KID who drops some coffee off for JULIA'S MOM. follow him back out into the hallway - CAMERA branches off from him - moves down another corridor and picks back up with STANLEY and CYNTHIA as they walk and talk. STANLEY Where's the news department at this studio? CYNTHIA It's upstairs. STANLEY Have you ever been there? CYNTHIA Sure, why? STANLEY I'm wondering about the weather department. I'm wonderin' wether or not the weather people use outside meteorlogical services or if they have in - house instruments? CYNTHIA I can check on that for you, maybe we can take a tour - STANLEY Ok. They pass CAMERA which picks up now with a woman MARY -LRB- 40s -RRB- This is Jimmy Gator's assistant. she walks to his dressing room door and knocks - JIMMY -LRB- OC. -RRB- Come in. Mary enters the room. Jimmy is getting dressed in his outfit for the show * and starting to take shots of Jack Daniel's. MARY Rose is on the phone and here's the cards for today - JIMMY Fifteen minutes ago, where were those cards? MARY I'm sorry. JIMMY I need you to get me Paula - MARY You want her right now? JIMMY Yes. Now. Find her. She's somewhere in the building - MARY We're on the air in twenty minutes, Jimmy. JIMMY Find her, get her and tell her I want to talk to her, Mary. Fucking hell. He picks up the phone. JIMMY Hello?", "INT. JIMMY'S HOUSE - THAT MOMENT CAMERA PUSHES in on ROSE -LRB- Jimmy's wife -RRB- as she sits in the kitchen on the phone to him. A MAID does some work in the b.g. ROSE How you doing? JIMMY I'm drinking. ROSE Slowly or quickly? JIMMY As fast as I can. ROSE Come home soon after the show. JIMMY I went to see her - some fuckin' asshole answers the door in his underwear, he's fifty years old, there's coke and shit laid out on the table - ROSE - did she talk to you? JIMMY She went crazy. She went crazy, Rose. ROSE Did you tell her? JIMMY I do n't know. I have to go, I do n't have time and I have more drinking to do before I go march - ROSE I love you. JIMMY Love you too. ROSE Bye. HOLD with Rose.", "EXT. CLAUDIA'S APARTMENT - THAT MOMENT CAMERA holds a moment on the building. JIM KURRING pulls his squad car INTO FRAME, looks at the building.", "INT. CLAUDIA'S APARTMENT - THAT MOMENT CAMERA dollies in quick on Claudia as she snorts a line of coke. She has some music BLASTING.", "EXT. CLAUDIA'S APARTMENT - THAT MOMENT CAMERA -LRB- STEADICAM -RRB- follows behind Jim Kurring as he heads up the pathway, up the stairs and lands at her door. He knocks.", "INT. CLAUDIA'S APARTMENT - THAT MOMENT Claudia jumps - turns her head to the door. She sniffs a bit, yells over the blasting music. CLAUDIA Hello? JIM KURRING -LRB- OC. -RRB- LAPD. Open the door. She looks through her peep - hole, sees Jim Kurring. She turns looks at her coffee table : It's full of coke, pills and pot, etc.. CLAUDIA uh. uh. What is it? JIM KURRING It's the LAPD, can you open the door, please? Claudia rushes over to the table of drugs and starts to scoop things up in her arms - CLAUDIA Just a minute just a. I have to get dressed -. -LRB- fuck, fuck, fuck. -RRB-", "EXT. MEDICAL BUILDING/SHERMAN OAKS - THAT MOMENT CAMERA pushes in on LINDA'S MERCEDES as it pulls into a parking structure. The RAIN is pouring down. She steps out of the car -", "INT. MEDICAL BUILDING - MOMENTS LATER CAMERA pulls back as Linda exits some elevators, heads down a hall -", "INT. OFFICE/WAITING ROOM - MOMENTS LATER She enters a psychologist's waiting room. Three or four chairs and a LIGHT SWITCH that has a doctors name next to it. ECU - She flips the switch and a red light goes on.", "INT. PSYCHOLOGIST'S OFFICE - MOMENTS LATER A small, comfortable office space. Linda is crying, talking, pacing. The psychologist is a middle aged woman, DR. DIANE. As they talk, Dr. Diane writes a perscription. LINDA I hate doing this, coming here and not being able to talk - DR. DIANE I understand, it's fine - I wish the circumstance was better. LINDA I do n't know what's gon na happen, I really do n't - I'm so fucking, I feel so over the top with everything. DR. DIANE Mmm. Hmm. Running out of your medication at all, let alone at a time like this could be drastic, I'm glad you came in to see me, as short as this has been - She hands over the perscriptions -LRB- x2 -RRB- and is about to say another word - but Linda SNATCHES the two small pieces of paper from her hand and heads for the door - LINDA Thank you Doctor Diane - SHRINK Good luck with everything. ECU - Door slammed.", "INT. EARL'S HOUSE - DEN - THAT MOMENT CAMERA holds on PHIL. SLOW ZOOM IN as he stands in front of the television, flipping stations. ANGLE, THE TELEVISION. It's plays all sorts of various things. Phil stops a few beats on each thing that looks vaguely like an infomercial. He puts the remote down, exits the room. CAMERA stays a moment, catches a glimpse of a promo for, `` What Do Kids Know?'' It's VARIOUS IMAGES of Stanley and the other kids answering questions, with a calendar showing they've been at it for over seven weeks and total winnings moving towards $ 450,000.00 PROMO ANNOUNCER Can they do it? Tune in live at three o'clock and see if Stanley Spector and his brilliant friends Richard and Julia can defeat todays adult challengers Mim, Luis and Todd - they're moving towards A Half A Million Dollar Team Total and a `` What Do Kids Know?'' record -", "INT. EARL'S HOUSE/KITCHEN - MOMENT LATER Phil enters and picks up the phone. Dials a number. -LRB- Director's Note -RRB-", "INT. PINK DOT - THAT MOMENT A young Mexican GIRL -LRB- 20's -RRB- takes orders for delivery at pink Dot, sits in front of a little computer. PINK DOT GIRL Pink Dot. PHIL Hi. I'd like to get an order for delivery. PINK DOT GIRL Phone number. PHIL 818 - 753 - 0088. PINK DOT GIRL Partridge? PHIL Yeah. PINK DOT GIRL What would you like? PHIL I'd like to get an order of. um. peanut butter. PINK DOT GIRL Mmm.Hmmm. PHIL Cigarettes. Camel Lights. PINK DOT GIRL mmm.hmm. PHIL Water. PINK DOT GIRL Bottled Water? PHIL Um, no, y' know what? Forget the water, just give me a loaf of bread. white bread. PINK DOT GIRL Ok. PHIL And um. do you have Swank magazine? PINK DOT GIRL Yeah. PHIL Ok. One of those. Do you have Ram Rod? The magazine, Ram Rod? PINK DOT GIRL Yeah. PHIL Ok. One of those. And. um. Barely Legal? PINK DOT GIRL yeah. PHIL Do you have that? PINK DOT GIRL yeah, I said. Is that it? PHIL That's it. PINK DOT GIRL Do you still want the peanut butter, bread and cigarettes? PHIL Yes. What? Yes. PINK DOT GIRL Total is $ 15.29. Thirty minutes or less. PHIL Thank you. Phil hangs up, looks to Earl. CU - EARL. He's asleep, uncomfortably. CAMERA moves inside his chest.", "INT. EARL'S BODY - THAT MOMENT CAMERA roams around a bit, watching the CANCER eat away at Earl's lungs. CAMERA MOVES BACKWARDS, pulling out.", "INT. HOLIDAY INN/BANQUET ROOM - THAT MOMENT CAMERA pulls back from Frank, who heads offstage. The AUDIENCE is applauding him. The sidekick, DOC takes the mic and makes an announcement about the one hour break/snacks served in lobby/etc. Frank hops offstage, greets Captain Muffy and Gwenovier. CAPTAIN MUFFY Chief, this is Gwenovier from the show, `` Profiles,'' for the interview - FRANK Hello, hello, I'm a bit out of breath from all this work - GWENOVIER That's fine. It's nice to meet you. FRANK Are we gon na tape some stuff now? GWENOVIER If you're up to it, I've got us set up in a suite upstairs - FRANK You got us a room so quick? Frank and Captain Muffy laugh at the joke. FRANK I'm kidding of course.", "INT. HOTEL SUITE - MOMENTS LATER Frank is getting his mic put on, Gwenovier has a small VIDEO CREW with her. They both get touched up for the interview, Frank's talking away. FRANK I swear to fucking - god, I do one - a - my seminars, I'm Superaman! I'm Batman! I'm like a fucking action hero the way I feel afterwards, like I could walk out this door, down the street, pick up any fuckin' pootie I see that has even one second to stop - Gwenovier gives a little snap and finger gesture to her CAMERAMAN to start rolling. GWENOVIER All it takes is one second? FRANK Just one look, one hesitation, one subtle gesture for me to know - And Bing - Bam - Boom I'm away on a tangent - I get so fuckin' amped at these seminars and lem me tell you why : Because I Am What I Believe. I am what I teach, I do as I say, I live by these rules as religiously as I preach them : And you wan na know what? I'm gettin' pussy left, right, up, down, center and sideways. GWENOVIER I'm gon na start rolling - FRANK - go, go, go. I'm givin' pearls here. And I ` II tell you samethin' else : I'm not succeding in the bush because I'm Frank TJ Mackey. If anything, there are women out there that want to destroy me - it makes it twice as hard for me, I run into some little muffin, knows who I am, knows my schemes and plans - shit, she's gon na wan na fuck around, prove to her friends, say, `` Yaddda - yadda - yadda, I saw that guy, he was n't anything, did n't get me.'' So me? I'm runnin' on full throttle the whole fuckin' time. Dodging bullets left and right from terrorist blonde beauties. But I ` II tell you this : The battle of the bush is being fought and won by Team Mackey. Can I have a cigarette? GWENOVIER Ok. So, lem me just ask you a couple questions to start - Captain Muffy hands Frank a cigarette, lights it for him. VIDEO CAMERA'S POV - It's zooms in to close up of Frank. He exhales. FRANK What do you want to know?", "EXT. SMILING PEANUT BAR - THAT MOMENT CAMERA BOOMS DOWN and PUSHES IN on Donnie Smith's Honda Accord, with damaged front end, as it pulls into a parking space. It's POURING RAIN. -LRB- dir.note -RRB- CAMERA lands in close. Donnie sits a moment. He plays his tape, `` Dreams,'' sings along a bit, pep talks himself, does some deep breathing, says. DONNIE Make it happen, make it happen and go, go, go. He gets out of the car real quick -", "INT. SMILING PEANUT BAR - THAT MOMENT CAMERA -LRB- STEADICAM -RRB- pushes in as Donnie enters this dark little bar. It's not too crowded. He takes off his wet coat, brushes his hair back a bit and walks to an empty corner table - Donnie takes his seat and looks over to the bar - CAMERA swings a 180, heads away from him - it moves to the bar area and into : A young, handsome BARTENDER BRAD -LRB- 20s -RRB- is pouring drinks. CAMERA picks up with a COCKTAIL WAITRESS -LRB- 30s -RRB- who walks over and brings us back to Donnie's booth - COCKTAIL WAITRESS Hello. You're back again, huh? DONNIE yeah, yes, hi, hello. COCKTAIL WAITRESS - can I get you? DONNIE Diet Coke. She exits. Donnie lights a cigarette - CAMERA blends from 24fps to 40fps - he looks across the room - CAMERA swings 180 back towards the bar and pushes in towards - Bartender Brad takes the order from the Cocktail Waitress. He nods, turns from her and smiles to reveal a full set of BRACES. ANGLE, DONNIE. CAMERA pushes in slow and he smiles, touches his hand to his mouth. DONNIE'S POV - The Bartender pours the coke, turns his attention towards an old - freaky looking Thurston Howell/Truman Capote/Dorothy Parker type guy -LRB- 60s -RRB- at the end of the bar, who raises his glass, motions as if to say, `` Another one of these, please,'' while waving some money and smiling/flirting with Brad the Bartender. Donnie's face drops. CAMERA DOLLIES back a little bit and blends from 40fps to 24fps. The Cocktail Waitress arrives back. COCKTAIL WAITRESS Diet Coke. DONNIE I want a shot of tequila too. COCKTAIL WAITRESS - what kind? DONNIE It does n't matter. Donnie GLARES across the bar at BRAD and THURSTON as they flirt.", "INT. TELEVISION STUDIO/HALLWAYS - THAT MOMENT CAMERA leads/follows the kids from the show. STANLEY, RICHARD -LRB- overweight, 12 -RRB- and JULIA -LRB- child - star - type 11 -RRB-. They're led by CYNTHIA, down the corridors towards the main set - JULIA Do you still have to do homework? RICHARD Not as much as I used to. Ever since we started, I have n't really gone in to school that much because I've been getting more and more auditions - STANLEY I do n't have regular classes anymore. RICHARD What do you do? STANLEY They just let me have my own study - time, my own reading time in the library. RICHARD That's pretty cool. JULIA Do you have an agent, Stanley? STANLEY No. JULIA You should get one, I'm serious, you could get a lot of stuff out of this - STANLEY Like what? RICHARD What do you mean, `` like what?'' - you could get endorsments and shit - CYNTHIA - Richard. RICHARD Bite it, Cynthia. You could get free things from people that want you to endorse their products. JULIA Commercials, a sitcom, an MOW or something. STANLEY What's MOW? JULIA Movie Of The Week. I went up for one this morning with Alan Thicke and Corey Haim - RICHARD Was it a call back? JULIA No. But I probably will get a call back. RICHARD If we beat the record, you might get a call back - JULIA I'll get it because I'm a good actress, Richard. RICHARD Saucy - saucy. CYNTHIA C'mon guys, settle down - STANLEY Cynthia? CYNTHIA What? STANLEY How much time do we have? CYNTHIA Not enough, what do you want? STANLEY I should maybe go to the bathroom. CYNTHIA Can you hold it? STANLEY I do n't know. CYNTHIA Just hold it, you'll be fine. They arrive and enter onto the stage - CAMERA swings around, branches away from them and BOOMS UP to reveal the set. There is a LIVE STUDIO AUDIENCE that's being settled into their seats. It's a three - camera set up with a FLOOR DIRECTOR roaming around, shouting orders, etc.. There's a spot for the announcer, an old - pro named DICK JENNINGS -LRB- 60s -RRB- Dick is in the middle of doing bad - comedy warm up for the studio audience. He's had a few drinks, etc.. The STAGE itself is a cross between JEAPORDY/NEWLEYWED GAME/PRICE IS RIGHT. There's a podium for Jimmy Gator. One panel holds `` The Kids,'' and one panel holds, `` The Adults.'' There are chaser - lights all around and some of the design feels left over from the early days of the show. CAMERA hangs out with the KIDS as they are ushered into their panel, which at this moment faces away from the audience and is behind a curtain. Julia turns her head, sees something : JULIA Here they come - The ADULT CHALLENGERS are brought out by an assistant type and loaded into their panel. The Adult Challengers are : Black woman named MIM MacNEAL -LRB- 40s -RRB- White guy with glasses TODD GERONIMO -LRB- 20s -RRB- Puerto Rican guy named LUIS GUZMAN -LRB- 40s -RRB- The Adults give a couple small glares over to the Kids. RICHARD -LRB- sotto. -RRB- Yeah, yeah, yeah, keep lookin' tough - old folks. STANLEY They look pretty smart, I think. JULIA No they do n't - RICHARD What are they gon na do - beat us? STANLEY Maybe. JULIA We're not going out two days before we set the record, it's not gon na happen. RICHARD When they want us done, they'll call in the Harvard S.W.A.T team or some shit. CAMERA lands in CU on Stanley. HOLD. BEAT. THEN :", "INT. JIMMY'S OFFICE - THAT MOMENT Jimmy and a woman named PAULA -LRB- 3Os -RRB- sit in his office. SLOW DOLLY IN ON EACH thru scene. JIMMY You look great. BEAT. PAULA What the fuck is this, Jimmy? JIMMY you know. PAULA Did your wife find out? JIMMY No. PAULA Then what? JIMMY It's just. too late for me to be fuckin' around. I got ta stop. I got ta clean my brain of all the shit I've done that I should n't have done - PAULA - that you should n't have done? That you regret, what? This? What's this? Fuck, man, c'mon. Treat me like an asshole, but treat me like an asshole. JIMMY I do n't wan na have to lie to anyone. I do n't want to hurt anyone else, anymore. She does n't respond. BEAT. THEN : JIMMY Thirty fuckin' years I've been with Rose, do n't - y' know - with this, and I know what you think - PAULA All your other fluzzies? JIMMY Yeah. Yes. PAULA You're making me feel so dirty and shitty. I feel like a big piece of shit right now. BEAT. PAULA Are you gon na tell her what you've done? JIMMY Yes. PAULA Will you say my name? JIMMY If she asks me any question I want to tell her. I want to tell her everything I've done. PAULA Well can you do me one favor and do n't do that. Jimmy does n't answer. PAULA Come and tell me it's over and I'll walk away, Jimmy. I've fucked you behind your wife's back for three years, and you've fucked teenage girls behind mine for the same amount of time - I'll walk away, you need something for your life, for your conscience, but do n't put me in the middle - JIMMY I wo n't. PAULA What happend to you? JIMMY I got in trouble at school. She stands and walks over to him, moves to give him a hug. PAULA Are you ok? JIMMY Fuck no. There's a KNOCK at the door and then it's opened by BURT RAMSEY -LRB- 60s -RRB- He's the producer of the show. -LRB- WHIP TO HIM -RRB- BURT Ready to run. Paula. PAULA Burt. Jimmy takes a quick shot, moves to Paula, gives her a tap on the cheek and says. JIMMY -LRB- to Paula. -RRB- You're a good one arentcha?", "INT. TELEVISION STUDIO/HALLWAY - MOMENTS LATER Burt and Jimmy walking and talking -LRB- STEADICAM -RRB-. BURT You smell like trouble - JIMMY I'm fuckin' hammered, Burt. BURT You ok? JIMMY ooohhhhhh no. BURT -LRB- re : cards. -RRB- Good. You look these over? JIMMY It's been the same fuckin' thing for thirty years, Burt - BURT These adults are tough enough, I think you'll be surprised - the Mexican's a bit of a question mark - Jimmy FALLS STRAIGHT TO THE FLOOR. BURT Fuck - fuck - fuck - Jimmy -", "INT. CLAUDIA'S APARTMENT - THAT MOMENT. ** Claudia finishes throwing her drugs into a dirty t - shirt and throwing that dirty t - shirt into her laundry basket. Jim Kurring bangs away at the door. JIM KURRING -LRB- OC. -RRB- OPEN THE DOOR. CLAUDIA I'm coming! She runs towards the door, takes a small fall on the way, recovers, opens up. CLAUIDA Yeah. Hi. Hello. REVERSE, CLOSE UP - JIM KURRING - 40fps. CAMERA pushes in on him a little bit at his first sight of Claudia. JIM KURRING yeah. CLAUDIA I'm sorry, I had to get dressed. Wider Angle reveals Jim Kurring, in a bit of a daze, standing with his BILLY CLUB removed and at the ready. He stands back. they have SHOUT above the music. JIM KURRING - you the resident here? CLAUIDA Yes. JIM KURRING You alone in there? CLAUDIA Yes. JIM KURRING No one else in there with you? CLAUIDA No, what's wrong? JIM KURRING You mind if I come in, check things? CLAUDIA For what? JIM KURRING Ok. For one thing, we're gon na need to turn that music down so we can talk, ok? CLAUDIA I'm sorry. She turns and Jim Kurring moves to replace his billy club, but misses the holster and it FALLS straight to the floor, slides down the steps. Claudia turns the music down, turns back and sees that he is gone. Jim Kurring grabs his billy club from the bottom of the steps and bounces back up and into the apartment as if nothing happend. JIM KURRING You live alone? CLAUIDA Yes. JIM KURRING What's your name? CLAUIDA Claudia. JIM KURRING Claudia What? CLAUDIA Wilson. JIM KURRING Ok. Claudia Wilson : You tryin' to go deaf? CLAUDIA What? JIM KURRING Did you hear what I said? CLAUDIA Yeah, but I do n't know - JIM KURRING - listenin' to that music so loud : You Tryin' To Damage Your Ears? CLAUDIA No. JIM KURRING Well if you keep listenin' to the music that loud you're not only gon na damage your ears but your neighbors ears. CLAUDIA I did n't realize it was that loud. JIM KURRING And that could be the sign of a damaged ear drum, you understand? CLAUDIA Yeah. JIM KURRING You got the TV on too, keep those on at that same time usually? CALUDIA I do n't know - I mean. What is this? JIM KURRING Have you been drinkin' today, doin' some drugs? CLAUDIA No. JIM KURRING I got a call of a disturbance, screaming and yelling, loud music. Has there been some screaming and yelling? CLAUDIA Yes. I had someone come to my door, someone I did n't want here and I told them to leave - so - it's no big deal. They left. I'm sorry. JIM KURRING Was it a boyfriend of yours? CLAUDIA No. JIM KURRING You do n't have a boyfriend? CLAUDIA No. JIM KURRING Who was it? CLAUDIA I was. he's gone. I mean it's not. It's over, y' know - Jim Kurring snoops a bit, she rubs her nose, nervous. Jim Kurring heads closer to bedroom - JIM KURRING You mind if I check things back here? CLAUDIA It's fine. Jim Kurring heads into the bedroom, looks around, stands by the laundry basket - CLAUDIA What are you lookin' for? JIM KURRING Claudia : Why do n't you let me handle the questions and you handle the answers, ok? CLAUDIA ok. JIM KURRING You just move in here? CLAUDIA About two years ago. JIM KURRING Bit messy. CLAUDIA Yeah. JIM KURRING I'm a bit of a slob myself. CLAUDIA Yeah. JIM KURRING You and your boyfriend have a party last night? CLAUDIA I do n't have a boyfriend. BEAT. Jim Kurring looks at Claudia and she looks back. HOLD.", "INT. SMILING PEANUT BAR - THAT MOMENT. Donnie sits in his booth after two tequila's. He's slightly fucked up. He gets up, stumbles over to the bar and takes a seat uncomfortably close to Thurston, who's now holding court among three or four other PATRONS. Brad the Bartender is washing glasses, keeps half an eye on things. Donnie to Thurston. DONNIE You look like you've got money in your pocket. THURSTON Maybe I'm just happy to see my friend, Brad there. The PATRONS laugh a bit, Brad nods, Donnie does n't laugh or look anywhere but Thurston. DONNIE Just throw some money around. Money, money, money. THURSTON This sounds threatening. DONNIE Do you have love in your heart? THURSTON I have love all over. I even have love for you, friend. DONNIE Is it real love? THURSTON Well - DONNIE - the kind of love that makes you feel that intagible joy. Pit of your stomach. Like a bucket of acid and nerves running around and making you hurt and happy and all over you're head over heels? THURSTON Well you lost me with the last couple of cocktail words spoken, m ` boy, but I believe it's that sort of love. Sounds nice to me. DONNIE I have love. THURSTON A very chatty - kind, you do, indeed, it seems. DONNIE No. I mean, I'm telling you : I'm telling you that I have love. THURSTON And I'm listening avidly, fellow. DONNIE My name is Donnie Smith and I have lot's of love to give. BEAT.", "EXT. SHERMAN OAKS PHARMACY - THAT MOMENT CAMERA holds wide angle on a pharmacy. It's still POURING RAIN. LINDA'S MERCEDES comes driving real fast into FRAME and slams it's brakes on, parks.", "INT. SHERMAN OAKS PHARMACY - THAT MOMENT. CAMERA pushes in on Linda as she enters, heads to the back for the perscription counter and a YOUNG PHARMACY KID behind the counter. YOUNG PHARMACY KID Hello. LINDA Hi. She hands over her three perscriptions. The Young Pharmacy Kid takes a long look at them, gives her a suspicious glance. YOUNG PHARMACY KID Wow. Lot - o - stuff here, huh? Linda nods. He goes to the back to the old - guy PHARMACIST and says a few words, points to Linda. Another suspicious look or two from the both of them. the PHARMACIST guy gets on the phone. ANGLE, LINDA. SLOW ZOOM IN. Blend from 24fps to 40fps. She just holds her breath and temper, looks down.", "INT. TELEVISION STUDIO/STAGE - THAT MOMENT CAMERA PUSHES in on a oversized STOPWATCH and the FLOOR DIRECTOR nearby. FLOOR DIRECTOR Thirty Seconds. CAMERA with the announcer DICK JENNINGS who walks to his post. CAMERA with the ADULT CHALLENGERS who talk a bit amongst themselves, CAMERA moves over to the KIDS. Richard looks over to Stanley. RICHARD The fuck is wrong with you? STANLEY I got ta go to the bathroom. JULIA Jesus Christ, Stanley.", "INT. PARENT'S GREEN ROOM - THAT MOMENT CAMERA pushes in on the Parents. RICK - you can not do that. You have to tone it. Do n't be real agressive, just subtely abusive. You must say, `` No. You are not leaving this house until that room is cleaned.'' JULIA'S MOM Julia's room is the same way. JULIA'S DAD Like a pig sty. But it's the outfits that we're getting into now - JULIA'S MOM You should have seen what she had on walking out the door - JULIA'S DAD - all dolled up. JULIA'S MOM I said : `` No. No. No. We are not going to a fashion show. You are going to school.'' RICHARD'S MOM - It's not a fashion show, it's school. JULIA'S MOM It is not a fashion show. CAMERA lands over on Rick, who's flipping through a brocheure for a new MERCEDES. RICK Let's make some fuckin' money, folks. They all look to the Monitor.", "INT. TELEVISION STUDIO/STAGE - THAT MOMENT CAMERA pushes in on JIMMY and BURT, behind the curtain. Jimmy drunk. BURT You okay? huh? Jimmy? JIMMY And the book says : `` We may by through with the past, but the past ai n't through with us.'' BURT C'mon, Jimmy, snap up, snap up - JIMMY In my sleep, Burt. CAMERA pushes in on the FLOOR DIRECTOR as he counts off. FLOOR DIRECTOR And. three. two. one. He points his finger. CAMERA WHIPS over to DICK JENNINGS who says : DICK JENNINGS Live from Burbank, California it's : `` What Do Kids Know?'' CAMERA WHIPS RT. to the APPLAUSE signs, then WHIPS again to the AUDIENCE that cheers, then WHIPS again to see the `` What Do Kids Know?'' sign as it lowers over the stage. The THEME MUSIC kicks in and we're away. Director's Note : We move between their TV CAMERA'S POV and our 35mm CAMERA POV. DICK JENNINGS -LRB- VO. -RRB- Going into our thirty - third year on the air, it's America's longest running quiz show and the place where three kids get to challenge three adults and in the end see who's boss! `` The Kids'' panel as it turns towards the Audience and lights up. DICK JENNINGS -LRB- VO. -RRB- Moving towards their eighth consecutive week as champions we have the kids : Richard, Julia and Stanley. `` The Adults'' panel turns towards the audience and lights up. DICK JENNINGS -LRB- VO. -RRB- And our new adult challengers today are Todd, Luis, and Mim. ANGLE - BACKSTAGE - THAT MOMENT Jimmy stands behind the curtain. CAMERA DOLLIES IN on his back. He holds his head down. DICK JENNINGS -LRB- VO. -RRB- Please say hello and welcome to the always ready host of `` What Do Kids Know?'' Your favorite : and my boss : Jimmy Gator! The curtain opens - a spotlight SHINES DIRECTLY INTO CAMERA - Jimmy enters the stage.", "INT. EARL'S HOUSE - LIVING ROOM - THAT MOMENT Sequence D CAMERA pulls back from the TELEVISION and WHIPS to Phil watching. The CAMERA pushes past him and over to Earl, asleep in the bed. Jimmy Gator's opening bit continues OC over the following. JIMMY GATOR -LRB- OC. -RRB- Back again, again, again! I'm Jimmy Gator and believe it or not we are at the end of week seven, going towards eight for these three incredible kids -", "INT. HOLIDAY INN SUITE - THAT MOMENT CAMERA pushes in on Frank who's babbling away about `` Seduce and Destroy,'' -LRB- Director's Note -RRB- then WHIP over to Gwenovier and her video crew as they all listen. JIMMY GATOR -LRB- OC. -RRB- - who hello - hello, are just two days and two games from the `` What Do Kids Now?'' record for the longest winning streak in this shows thirty three year history -", "INT. CLAUDIA'S APARTMENT - THAT MOMENT CAMERA pushes in on Jim Kurring then WHIP to Claudia as they talk and he snoops, etc. -LRB- Director's Note : Ref. note pages -RRB- JIMMY GATOR -LRB- OC. -RRB- We're endorsed by the PTA and the North American Teacher's Foundation and we are try and do our best to hold standards high - that's why we're the longest running quiz show in television history -", "INT. SMILING PEANUT - THAT MOMENT CAMERA WHIPS from the TELEVISION above the bar which is playing the quiz show and pushes over Donnie, staring at the monitor. He shots another Tequila. JIMMY GATOR -LRB- OC. -RRB- And let me say : With these three kids right here, I would n't be surprised if we've got a while to go, but today is a dangerous day -", "INT. SHERMAN OAKS PHARMACY - THAT MOMENT CAMERA whips a ZOOMS in slow on Linda, holding her temper as the Pharamcy guy suspiciously glance at her and make a call or two to check on her perscriptions. JIMMY GATOR -LRB- OC. -RRB- - for I have met the three adult challengers backstage and they are quite a challenge for our youngsters - SO LET'S GET THIS GAME OFF AND AWAY, EH?", "INT. JIMMY GATOR'S HOUSE - THAT MOMENT CAMERA pushes in on ROSE as she watches her husband. JIMMY GATOR -LRB- OC. -RRB- Let's jump right in, quick re - cap for those who do n't know : Round One. Three Categories.", "INT. POLICE STATION - THAT MOMENT CAMERA pushes in on MARCIE who's being processed and finger printed / questioned. Two DETECTIVES nearby/OC throughout. A small portable TELEVISION in the b.g., plays the show. DETECTIVE #1 We want to know where your Son is, Marcie. DETECTIVE #2 Jerome Samuel Hall. Did he have a fight with your husband? Where they fighting? DETECTIVE #1 Maybe they had a fight, maybe it was an accident. Maybe it was an accident? DETECTIVE #3 Help him out, and help us get there before something else - DETECTIVE #2 Help us help your son, Marcie.", "INT. NORTH HOLLYWOOD APARTMENT - THAT MOMENT CAMERA pushes in on the little kid, DIXON, who gave Jim Kurring the rap earlier. Sitting around with the friends who we saw earlier in one of their apartments. They're glued to the TELEVISION that plays the show. The BACK OF A FIGURE -LRB- black male -RRB- enters FRAME and tapes Dixon's shoulder with a `` let's go'' motion and Dixon gets up and follows. CAMERA keeps going in towards the television - JIMMY GATOR -LRB- OC. -RRB- Steals are OK, escelating point scale from 25 to 250 so Let's Go Categories!", "INT. EARL'S HOUSE - LIVING ROOM - THAT MOMENT CAMERA pushes in profile on PHIL. The DOORBELL RINGS and he jumps. The DOGS go crazy barking. Phil heads for the door, opens up. It's the PINK DOT GUY. PHIL Hi. PINK DOT GUY $ 15.24. ANGLE, EARL'S TELEVISION - THAT MOMENT. A small bank of VIDEO MONITORS pops up and displays some categories. JIMMY GATOR We have, `` Authors'' `` The Dee Blue'' and `` Chaos vs. Superstring'' ANGLE, PHIL He hands over a twenty dollar bill to the Pink Dot Guy. The DOGS go crazy barking and he tries to calm them down. ANGLE, EARL'S TELEVISION Jimmy behind the podium. JIMMY GATOR Adults won a coin toss backstage and they'll have first choice : Todd. TODD I'll take `` Authors,'' Jimmy. ANGLE, PHIL He dumps the bag out and goes straight for the Porno Magazines. He flips to the back of one, scanning quickly for something - XCU, his finger moves down the page, arrives at an AD for `` Seduce and Destroy'' that has a picture of Frank with a girl in a bikini and says, `` Get Laid Now.'' PHIL Got it. ANGLE, EARL'S TELEVISION - THAT MOMENT Jimmy reads from his index cards. -LRB- tv slow zoom in -RRB- JIMMY GATOR First question for 25. This female author's most famous work `` O! Pioneers'' - ANGLE, PHIL - THAT MOMENT CAMERA pushes in super - quick as Phil picks up the phone and starts to dial the 1 - 800 number listed in the porno magazine.", "INT. GAME SHOW STAGE - THAT MOMENT CAMERA does a super fast WHIP and DOLLY in to STANLEY as he presses his buzzer : STANLEY Willa Cather. CAMERA PUSHES IN ON JIMMY. JIMMY For 25. Best known for the `` tragedy and blood'' genre, this author - playwright - CAMERA WHIPS and PUSHES IN ON STANLEY. STANLEY -LRB- buzzes. -RRB- Thomas Kyd. JIMMY This French playwright and actor joined the Bejart troupe of actors - STANLEY -LRB- buzzes. -RRB- Moliere. JIMMY I'm gon na need a full name, Stanley. STANLEY Jean Baptiste Poquelin Moliere. CAMERA WHIPS to the adults who instantly look un - happy : LUIS -LRB- to Todd. -RRB- What the fuck is this?", "INT. PARENTS GREEN ROOM - THAT MOMENT CAMERA pushes in on Rick as he sits back and smiles. RICK My little fucker - I have no idea where he gets this stuff.", "INT. VAN NUYS OFFICE SPACE - THAT MOMENT CAMERA pushes in on a geek named CHAD -LRB- 20s -RRB- who answers a phone. He has a small computer in front of him. This is the bolier - room - answering - phones - for - orders headquarters for `` Seduce and Destroy.'' Five or six other guys sit around desks, answering phones and working computers, etc.. There are posters of Frank all around and some maps and some charts, etc.. CHAD -LRB- into phone. -RRB- `` Seduce and Destroy,'' thisz Chad, can I have your home phone number with area code, please?", "INT. EARL'S HOUSE - KITCHEN - THAT MOMENT CAMERA pushes in on Phil, on the phone. PHIL Hi, hello, great. This is Seduce and Destroy? CHAD It is. Can I have your home phone number with area code? PHIL Well I do n't want to order anything, you see. I have a situation, a situation just come up that's really pretty serious and I'm not sure who I should talk to or what I should do but could you maybe put me in touch with the right person if I explain myself? CHAD I'm really only equipped to take orders - PHIL Well can you connect me to someone else? CHAD Well what's the situation? PHIL Well, ok. Lem me see how I explain this without it seeming kinda crazy, but here go : I'm, my name is Phil Parma and I work for a man named Earl Partridge - Mr. Earl Partidge. I'm his nurse. He's a very sick man. He's a dying man and he's sick and he's asked me to help him, to help him find his son - Hello? Are you there, hello? CHAD I'm here, I'm listening. PHIL OK. See : Frank TJ Macky is Earl Partridge's son.", "INT. HOLIDAY INN SUITE - THAT MOMENT Frank and Gwenovier doing the interview. GWEN Where are you from originally? FRANK Around here. GWEN the valley? FRANK Hollywood, mainly. GWEN And what did your parents do? FRANK My father worked in televison. My mother - this is gon na sound silly to you - she was a librarian. GWEN Why does that sound silly? FRANK Well I guess it does n't. GWEN Does you mother still work? FRANK She's retired. GWEN Are you close? FRANK She's my mother. GWEN What does she say about, `` Seduce and Destroy.'' FRANK `` Go Get'Em, Honey.'' GWEN And your father? FRANK He passed away. GWEN I'm sorry. FRANK people die. GWEN I would n'tve asked - FRANK Not a problem. GWEN And you ended up at UC Berkely - FRANK From'84 to' 89. GWEN Psychology major? FRANK Right. GWEN Do you have your masters? FRANK this close. GWEN In five years? He winks and clicks his teeth. FRANK Muffy, can I get another ciggy?", "INT. PHARMACY - THAT MOMENT The YOUNG PHARMACY KID is stacking some stuff away while waiting for the PHARMACIST to finish filling the perscription. YOUNG PHARMACY KID Cats and Dogs out there, huh? LINDA mmmhmm. YOUNG PHARMACY KID Must have alot goin' on for all that stuff you got back there, eh? You could have quite a party all that stuff. Linda looks down. HOLD. BEAT. THEN : YOUNG PHARMACY KID You been on Prozac long? Dexadrine? LINDA I do n't. YOUNG PHARAMCY KID Interesting drugs. Dexadrine's basically speed in a pill. Y' know? But I guess a lot of doctors are balancing out the prozac with the dexadrine, eh? That Liquid Morphine'll knock you down, out, around, up and down someone's not careful. ca n't mix those up, y' know. Must have a lot goin' on in your life for all that stuff there. The Older Pharamacist DINGS his bell and the Young Pharmacy Kid gets the bag and starts to ring it up. SLOW ZOOM IN ON LINDA as he babbles away. YOUNG PHARAMCY KID -LRB- OC. -RRB- Strong, strong stuff here, boy. wow. What exactly you have wrong, you need this stuff? LINDA snaps. She starts to tremble and cry and build - LINDA You motherfucker. you motherfucker. YOU FUCKING ASSHOLE, WHO THE FUCK ARE YOU? WHO THE FUCK DO YOU THINK YOU ARE? YOUNG PHARMACY KID - what - what - what, ma'am - I - LINDA I COME IN HERE - YOU DO N'T KNOW, YOU DO N'T KNOW WHO THE FUCK I AM OR WHAT MY LIFE IS AND YOU HAVE THE FUCKING BALLS, THE INDECENCY TO ASK ME A QUESTION ABOUT MY LIFE - Linda PUSHES a large DISPLAY over on it's side, SMASHES things on the counter, throws things around, basically goes nuts. The Older Pharamacist comes rushing to the front to try and calm things - OLDER PHARMACIST Please, lady, why do n't you just calm down - LINDA And FUCK YOU TOO. Do n't you call me `` lady.'' I come in with these things, I give it over to you, you doubt, you make your phone calls, check on me, look suspicious, ask questions, `` I'm sick.'' I HAVE SICKNESS ALL AROUND ME AND YOU FUCKING ASK ME MY LIFE? WHAT'S WRONG? HAVE YOU SEEN DEATH IN YOUR BED IN YOUR HOUSE? And where is your fucking decency? That I'm asked questions `` WHAT'S WRONG?'' You suck my dick, that's what's wrong and you, you fucking call me `` lady.'' You SHAME ON YOU. SHAME ON YOU. SHAME ON BOTH OF YOU. She THROWS a crumpled STACK OF MONEY at them both, grabs the PERSCRIPTION and heads for the door -", "INT. LINDA'S MERCEDS - MOMENTS LATER She slams the door. She's shaking and crying. CU - Pharmacy bag ripped open. CU - Bottle cap of Dexadrine popped off. CU - Linda's mouth as she swallows back the pills.", "EXT. PHARMACY/STREET - THAT MOMENT CAMERA BOOMS down on her Mercedes as it peel out and off -", "INT. EARL'S HOUSE/VAN NUYS OFFICE SPACE - THAT MOMENT Continue w/intercut between Phil and Chad on the phone. BEAT, THEN : CHAD Why do n't they have the same last name? They do n't have the same last name. PHIL I know - and I ca n't really explain that, but I have a feeling there's something, some situation between them, like they do n't really know each other much or well, something like they do n't talk much anymore - CHAD Uh - huh. PHIL Does this sound weird? CHAD Well I'm not sure why you're calling me. PHIL There's no number for Frank in any of Earl's stuff and he's pretty out of it - I mean, like I said, he's dying, y' know. Dying of Cancer. CHAD What kind of Cancer? PHIL Brain and Lung. CHAD My mother had breast cancer. PHIL It's rough. I'm sorry, did she make it? CHAD Oh, she's fine. PHIL Oh that's good. CHAD It was scary though. PHIL It's a helluva disease. CHAD Sure is. So why call me? CAMERA pushes in on Earl, asleep in the bed, breathing becomes a bit irregular. HOLD on him. 30fps. PHIL I know this all seems silly. I know that maybe I sound ridiculous, like maybe this is the scene of the movie where the guy is trying to get ahold of the long - lost son, but this is that scene. Y' know? I think they have those scenes in movies because they're true, because they really happen. And you got ta believe me : This is really happening. I mean, I can give you my phone number and you can call me back if you wan na check with whoever you can check this with, but do n't leave me hanging on this - please - please. See : See : See this is the scene of the movie where you help me out -", "INT. HOLIDAY INN SUITE - THAT MOMENT Frank and Gwenovier doing the interview, CAMERA DOLLIES IN SLOW ON EACH : GWENOVIER - see, I thought you grew up here in the valley - FRANK Like I said, yeah - GWEN And you went to Van Nuys High, right? FRANK I do n't how much I went - but I was enrolled. I was such a loser back then. I was - misguided, pathetic - I was very fat. Not even close to what I am today. Not the Frank TJ Mackey you're eager to talk to because I was swimming in what was as opposed to I wanted. GWEN Where does that name come from? FRANK What name? My name? GWEN It's not your given name, right? FRANK My mother's name, actually. Good question. You've done you're research. GWEN And `` Frank?'' FRANK `` Frank'' was my mother's father. GWEN Ok. That's why. I had trouble locating your school records at Berkely and UCLA. Your name change - they had no official enrollment - FRANK Oh, yeah. No, no, no. They would n't - GWEN They would n't? FRANK no, no, no. Certainly not. I was n't officialy enrolled, that's right. Was that unclear? GWEN Kind of. FRANK I would n't want that to be misunderstood : My enrollment was totally unoffical because I was, sadly, unable to afford tuition up there. But there were three wonderful men who were kind enough to let me sit in on their classes, and they're names are : Macready, Horn and Langtree among others. I was completely independent financially, and like I said : One Sad Sack A Shit. So what we're looking at here is a true rags to riches story and I think that's what most people respond to in `` Seduce,'' And At The End Of The Day? Hey - it may not even be about picking up chicks and sticking your cock in it - it's about finding What You Can Be In This World. Defining It. Controling It and saying : I will take what is mine. You just happen to get a blow job out of it, then hey - what - the - fuck - why - not? he.he.he.", "INT. GAME SHOW SET - THAT MOMENT. CAMERA pushes in on Jimmy Gator. A BELL is ringing. JIMMY GATOR End of Round One! Excellent work ladies and germs, let's see the scores on the boards : Kids up a leg with 2025, Adults down a bit with 1200. We'll be back for Round Two and a Ring - Dang - Do - A sudden and LOUD WISHTLE sounds. JIMMY GATOR HELLO! Musical Bonus Question before we go to break and the lucky team is - Jimmy opens an ENVELOPE and reads : JIMMY GATOR Kids in the lead and they get a chance to pull further and farther ahead - with the following secret bonus musical question : I will read you a line from an opera and you are to give me the same line in the language in which the opera was originaly written and for a bonus 25 you can sing it. Here's the line : `` Love is a rebellious bird that nobody can tame, and it's all in vain to call it, if it chooses to refuse.'' CAMERA PANS and DOLLIES over to the KIDS and moves in close on Stanley. STANELY Well that was. uh. in French. and that was in the opera, `` Carmen.'' And that goes. um. -LRB- sings. -RRB- L'amour est un oiseau rebelle Que nul ne peut apprivoiser, Et c'est bien en vain qu'on l'appelle, S'il lui convient de refuser. The AUDIENCE applauds and the `` Carmen,'' que carries over the following scene.", "INT. CLAUDIA'S APARTMENT - THAT MOMENT Sequence E Jim Kurring and Clauida continued. He walks into the KITCHEN area and sees a pot of coffee. JIM KURRING got some coffee brewing, huh? CLAUDIA Yeah. it's not. it's been on for a bit - JIM KURRING I like iced coffee, generally, but a day like this, rain and what not, I enjoy a warm cup - CLAUDIA - do you wan na cup? JIM KURRING That's great, thank you. She starts heating/preparing him some coffee. CLAUDIA I do n't know how fresh it's gon na be - JIM KURRING Oh, it'll be fine, I'm sure, Claudia. CLAUDIA You take cream or sugar? JIM KURRING That'd be fine. So, Claudia, lem me just say, so I can get my role of LAPD officer out of the way before we enjoy our coffee. -LRB- I never like to talk shop over coffee. -RRB- I'm not gon na write you up or anything, I'm not gon na give you a citation here - but the real problem we have is that there are people around here, people that work from their homes, people tryin' to get some work done, and if you're listenin' to your music that loud : They're incovenienced by that. If you had a job you'd probably understand, but I see you like listenin' to your music and that's fine, you're just gon na wan na keep it down at a certain volume, maybe memorize what number you see on the dial and just always put it to that - If it's the middle of the day - that's what I do - just put it on two and a half and that's a good listening level, alright? I see you like listenin' to your music loud, but, hey, forget about the neighbors, you end up damaging your own ears ok? CLAUDIA Yeah. JIM KURRING Arlight, then. Cheers. They clink coffee cups. He makes a sour face at the taste. JIM KURRING Is this boyfriend bothering you? CLAUDIA I do n't have a boyfriend. JIM KURRING The gentleman who came to the door - CLAUDIA - is not my boyfriend. JIM KURRING Many times, in damestic abuse situations the young lady is afraid to speak, but I have to tell you that, being a police officer, I've seen it happen : Young woman afraid to speak, next thing you know, I'm gettin' a call on the radio, I got a 422 - CLAUDIA It's not - what's a 422? JIM KURRING It's where situations like these lead, Claudia, unless you do something about it early, if and when the police call and come for help. Now there are certain measures you can take - CLAUDIA It's not my boyfriend - and it's not anything - it's over. Really. It's not. He wo n't came back. JIM KURRING I do n't wan na have to come back here in an hour and find that there's been another disturbance. CLAUDIA You wo n't. You wo n't have to. JIM KURRING But I would n't mind comin' back in an hour just to see your pretty face! They laugh. CLAUDIA I'm gon na run to the bathroom real quick. JIM KURRING Okey - doke. She exits. HOLD A BEAT with him.", "INT. CLAUDIA'S BEDROOM - MOMENT LATER She enters, gets the coke from the laundry basket - and sets some up, snorts it back -", "INT. CLAUDIA'S KITCHEN NOOK - THAT MOMENT Jim Kurring looks over his shoulder and sees that she's gone. He quickly moves to the kitchen and dumps the coffee in the sink and then quickly sits back down. End Carmen Que.", "INT. GAME SHOW SET - THAT MOMENT CAMERA on Jimmy, behind the curtain, during the Commercial Break. He takes a shot of Jack Daniels that Mary has brought out for him. JIMMY I ca n't fuckin' do this. MARY Are you alright? JIMMY Fuck. I think I'm gon na throw up, I think. -LRB- beat. -RRB- I have n't thrown up since I was twenty years old. Jimmy stumbles over to a corner a bit. ANGLE, GAME SHOW SET. Stanley is trying to flag down Cynthia, who stands off in the wings, she finally comes over. CYNTHIA Stanley, what's the problem? STANLEY I have to go to the bathroom, Cynthia. CYNTHIA Jesus Christ, Stanley, you ca n't go to the bathroom now. You have exactly one minute before we're back on the air, this is NOT the time to go to the bathroom. STANLEY I'm, I need to go, I'm gon na - RICHARD Why does this kinda shit always happen, Stanley? The Adult Challengers look over at the Kids section. LUIS What's the problem over there? RICHARD Mind yer bussiness - MIM Watch your mouth, little man. JULIA Why do n't you mind your own bussiness? CYNTHIA Alright, stop it, cool down, cool it. Please. Now : Stanley, you wait until the next commercial break and you can go then - Just Hold It. -LRB- to Adults. -RRB- Do n't taunt the kids - LUIS I just asked what was going on - CYNTHIA Do n't start trouble, Luis. ANGLE, BACKSTAGE. CAMERA pushes in on Jimmy from behind as he throws up in a corner. Mary pets his back. He throws up a lot of BLOOD. She snaps fingers to a stage hand to bring some towles and a glass of water - OC VOICE Two minutes, everyone, we're back in two!", "EXT. LAW OFFICE BUILDING/PARKING STRUCTURE - THAT MOMENT Linda's Mercedes pulls out of the rain and to a parking structure. CAMERA PUSHES IN real fast, she takes a ticket. CU'S -LRB- Director's note - three ecu's ticket take green button -RRB-", "INT. LINDA'S MERCEDES - MOMENTS LATER CU's on Linda. She pops three or four more DEXADRINE.", "INT. LAW OFFICE BUILDING/HALLWAY - THAT MOMENT Linda off the elevators. CAMERA pushes in with her.", "INT. LAWYER'S OFFICE - THAT MOMENT CAMERA whips around, RECEPTIONIST - LINDA I'm Linda Partridge to see Alan Kligman.", "INT. SEDUCE AND DESTROY CONDO - THAT MOMENT CAMERA pushes in quick on a young girl named JANET. -LRB- This is the GIRL from Frank's flashback's. -RRB- She answers the phone in this converted condo into office headquarters for `` Seduce and Destroy.'' Frank TJ Mackey paraphenallia, propoganda and literature allover the place. JANET `` Seduce and Destroy,'' thisz Janet.", "INT. VAN NUYS OFFICE SPACE - THAT MOMENT CAMERA pushes in on Chad, on the phone. CHAD Hey, Janet, it's Chad. JANET What's wrong? CHAD Nothing's wrong, I just got some guy on the phone on my other line, he's says he works for this guy, this guy who's Frank's father - JANET - no, no, no what is this? who? What's this guy's name?", "INT. EARL'S HOUSE - THAT MOMENT CAMERA -LRB- HAND HELD -RRB- with Phil, phone to his ear, on hold -LRB- we can hear Frank's commercial playing on the receiver, ref. notes. -RRB- Earl is MOANING in pain, the DOGS are barking at the noise. Earl continues to hallucinate and remains in major pain, but at the same time he's very, very weak. There are moments of strength that pop and push into him and he's very angry with Phil, continues to scream for someone named, `` Lily,'' and generally treats Phil like an enemy. EARL LILY. FUCK. LIL, PLEASE. LILY. Phil moves into the kitchen and gets the bottle of MORPHINE PILLS. He drops them, the crash on the floor, picks them all up, except one. which one of the Mutt Dogs walks over to and eats. Earl SCREAMS.", "INT. SEDUCE AND DESTROY CONDO - THAT MOMENT CAMERA on Janet on the phone, listens, says : JANET mmm.hmmm. mmm. hmm. Alright. Put him through and lem me see what's goin' on -", "INT. VAN NUYS OFFICE SPACE - THAT MOMENT CAMERA on Chad. He puts Janet on hold and clicks over to Phil : CHAD Phil, you there?", "INT. EARL'S HOUSE - THAT MOMENT CAMERA on Phil, tending to Earl, who moans away. -LRB- Bit less pain now. -RRB- The Mutt/Morphine Dog is starting to get a bit wobbly. PHIL Yeah, hey. Chad. CHAD Alright, so I'm gon na transfer you over to Frank's assitant, Janet she's gon na see what she can do - PHIL Thank you, Chad, and good luck to you and your mother - CHAD Thank you. Thank you very much. Chad clicks a line and confrences Janet and Phil. JANET Hello? CHAD Ok. Janet you have Phil Parma - JANET Hello, Phil. PHIL Hi, hi, thank you for taking my call - CAMERA holds with EARL for a quick BEAT, THEN :", "INT. GAME SHOW - BACKSTAGE - THAT MOMENT Jimmy finishes cleaning himself up and he looks to Mary : JIMMY GATOR I have Cancer, Mary. She does n't know what to say. JIMMY GATOR I have about two months, I have no time. It's in my bones and I do n't have a chance. And I'm fucked. I had a stroke last week - MARY Jimmy. The OC call from FLOOR DIRECTOR. FLOQR DIRECTOR Ten Seconds. Jimmy walks from behind the curtain to the `` Adult'' contestants, takes his mark and waits for the countdown - CAMERA moves over to Stanley who watches Jimmy closely and sees him stumble a bit, recognizes that something is wrong. Floor Director counts, 3 - 2 - 1 -", "INT. SMILING PEANUT BAR - THAT MOMENT Sequence F CAMERA pulls back from the TELEVISION above the bar, playing the show. We see Jimmy start to chat w/and do intro's for the adults. -LRB- Director's Note : This runs through scene and a complete script is avail/will be shot. -RRB- Donnie and Thurston and the Patrons continued. DONNIE do you know who I am? THURSTON You're a friend of the family I presume? DONNIE What? What does that mean? THURSTON Nothing special, just a spoke in the wheel. DONNIE You talk in rhymes and riddles and ra. rub - adub - but that does n't mean anything to me, see. see. see I used to be smart. I'm Quiz Kid Donnie Smith. I'm Quiz Kid Donnie Smith from the tv - THURSTON Might of been before my time. PATRON #1 I remember you. I remember. In the 60's right? DONNIE I'm Quiz Kid Donnie Smith. THURSTON like you said. PATRON #1 Smart Kid! Fuck, yeah, he - he. You got hit by lightning that one time, right? DONNIE So what? PATRON #1 I heard about that. PATRON #2 Did it hurt? DONNIE Yes. THURSTON But you're alright now, so what's the what? DONNIE What? THURSTON That's right. DONNIE I used to be smart but now I'm just stupid. THURSTON Brad, dear? Brad turns and looks : THURSTON Who was it that said : `` A man of genius has seldom been ruined but by himself.'' DONNIE -LRB- to himself. -RRB- - Samuel Johnson. BRAD I do n't know. Donnie looks up at Brad. Brad smiles with his braces, Donnie looks away quick - THURSTON It was the lovely Samuel Johnson who also spoke of a fella `` Who was not only dull but a cause of dullness in others.'' DONNIE `` The'' cause of dullness in others - THURSTON Picky, picky. DONNIE - and lem me tell you this : Samuel Johnson never had his life shit on and taken from him and his money stolen - who took his life and his money? His parents? His mommy and daddy? Make him live this life like this - `` A man of genius'' gets shit on as a child and that scars and it hurts and have you ever been hit by lighting? It hurts and it does n't happen to everyone, it's an electrical charge that finds it's way across the universe and lands in your body and your head - and as for `` ruined but by himself,'' not if his parents take his friggin' life and his money and tell you to do this and do that and if you do n't? well, what - PATRON #1 You're parents took your money you won on that game show? DONNIE Yes they did. -LRB- turns quick to Thurston. -RRB- What does that mean, `` spoke in the wheel?'' THURSTON Things go round'n round, do n't they? DONNIE Yes they do, they do, but I'll make my dreams come true, you see? I will. THURSTON This sounds Sad as a Weeping Willow. DONNIE I used to be smart but now I'm just stupid. THURSTON Shall we drink to that? Donnie looks to the television for a moment, starts to tear up, CAMERA pushes in slow to an EXTREME CLOSE UP. He repeats line's from his days on `` What Do Kids Know?'' and does his best Jimmy immitation. DONNIE `` If a brick weighs one pound plus one half brick - how much does the brick weigh?'' `` Well if subtracting the half of brick from the whole brick you got one half of brick, equals one pound so therefore the brick equals two pounds -'' `` A little more than kin and less than kind,'' is Hamlet to Claudius. `` The sins of the father laid upon the children,'' is Merchant of Venice but borrowed from Exodus 20:5 and `` win her with gifts if she respects not words,'' is Two Gentleman from Verona. Where? Who? How and Why, Kids? THURSTON `` Why do n't you shut the fuck up,'' is me to you, Chapter Right Here, Verse Right Now.", "INT. GAME SHOW SET - THAT MOMENT CAMERA on the set with Jimmy walking over to the `` Kids'' panel. JIMMY GATOR KIDS! Are you guys glued to those seats or what? Are you ever leaving? You're getting close to the record, do you get more nervous as we go along? RICHARD A little - JULIA - yeah. JIMMY GATOR - kids at school must be real excited for you, eh? JULIA Oh, yeah. yeah. RICHARD Sure. JIMMY GATOR Stanley the Man! How are you? STANLEY I'm fine. Yes. JIMMY GATOR You're fast becoming a celebrity. How are you handling it all? STANLEY Ohh, it's all fine. It's all. Nice. I'd just like to keep going. keep getting on. JIMMY GATOR Sure, sure. that's fine, then. there. with. Jimmy starts to loose his grip on the proceedings a bit, slows his pace down. Stanley notices. JIMMY GATOR Well you've got. many. things, many things happening and on the way. ANGLE, BURT. CAMERA PUSHES IN on Burt as he sees Jimmy start to zone out a bit.", "INT. JIMMY GATOR'S HOUSE - THAT MOMENT CAMERA pushes in on Rose, sitting in the kitchen, watching the television. She holds her breath and tears a bit, noticing Jimmy start to fade.", "INT. GAME SHOW STAGE - THAT MOMENT Back to Stanley and Jimmy. Jimmy repeats himself. JIMMY What were you saying, Stanley? STANLEY I was saying. thinking maybe I'd get my own quiz show someday, Jimmy. Just like you! The AUDIENCE laughs. Jimmy clicks back with a chuckle and a `` is n't that cute,'' smile to the crowd and he walks over to his podium. CAMERA stays for a moment with Stanley, notices him continue to grab his crotch and make a face. JIMMY OK, OK, here we go : Steeper questions, bigger payoff, individual challenges with musical and audio pockets, no - steal - lock - out's, let's get it on in Round Two, Categories are :", "INT. HOLIDAY INN SUITE - THAT MOMENT Frank and Gwenovier doing the telvision interview. CAMERA DOLLIES FRANK - that's right, that's right, and what I'M saying, that none of my competitors can say is this : That there is no need for insight or understanding. Things of the past! Gone, Over, Done. Do you realize how fucking miraculous this is? How fucking razor sharp and cutting edge and ahead of it's time this concept is? I'm talking about eliminating insight and understanding as human values. GOD DAMN I'M GOOD. There is no need for INSIGHT. There is no need for UNDERSTANDING. I have found a way to take any subjective human experience - in other words - all the terrible shit or all the great shit that you've had happen to you in your life - and quickly and easily transform it in the unconscious mind through the subtle and cunning use of language. The `` listener - patient''. -LRB- in other words : The Chick. -RRB- settles into a very light, very delicate, conversationally induced state : NOT A TRANCE, mind you, but a STATE. A state that is brand new. The System's state. What did I do? I REALIZED that concept and put it into practical `` get my dick hard and fuck it'' use. I'm gon na build a state for the seducer and the seducee to live, vote, breath, pay takes and party'till dawn. I'm gon na teach methods of language that will help anyone get a piece of ass, tit and tail - GWENOVIER Let's talk about - FRANK I just realized this is for television, is n't it? I ca n't swear up and down like I just did. GWENOVIER It's fine. I can bleep it out. FRANK I warned you - I get on a roll. GWENOVIER - let's talk more about your background - FRANK Muffy - coffee? Muffy moves to pour a cup, Gwen looks down at her clipboard, then : GWENOVIER I'm confused about your past is the thing. FRANK Is that still lingering? GWENOVIER - just to clarify - FRANK So boring, so useless - GWENOVIER I would just want to clear some things up : FRANK -LRB- Muffy delivers coffee. -RRB- Thank you, Muffy. Funny thing is : This is an important element of, `` Seduce and Destory :'' `` Facing the past is an important way in not making progress,'' that's something I tell my men over and over - GWENOVIER This is n't meant - FRANK - and I try and teach the students to ask : What is it in aid of? GWENOVIER Are you asking me that? FRANK Yes. GWENOVIER Well, just trying to figure out who you are, and how you might have become - FRANK In aid of what? GWENOVIER I'm saying, Frank, in trying to figure out who you are - FRANK - there's a lot more important things I'd like to put myself into - GWENOVIER It's all important - FRANK Not really. GWENOVIER It's not like I'm trying to attack you - FRANK This is how you wan na spend the time, then go, go, go - you're gon na be surprised at what a waste it is - `` The most useless thing in the world is that which is behind me,'' Chapter Three - GWENOVIER We talked earlier about your mother. And we talked about your father and his death. And I do n't want to be challenging or defeatist here, but I have to ask and I would want to clarify something - something that I understand - FRANK I'm not sure I hear a question in there? GWENOVIER Do you remember a Miss Simms? FRANK I know alotta women and I'm sure she remembers me. GWENOVIER She does. From when you were a boy. FRANK Mm. Hm. GWENOVIER She lived in Tarzana. FRANK An old stomping ground - is this the `` attack'' portion of the interview, I figured this was coming sooner or later - Is `` the girl'' coming in for the kill? GWENOVIER No, this is about getting something right and claryfying one of your answers to an earlier question - FRANK Go ahead and waste your time. GWENOVIER I was told that your mother died. That your mother died when you were young - FRANK And that's what you've heard? GWENOVIER I talked to Miss Simms. Miss Simms was your caretaker and neighbor after your mother died in 1980. BEAT. Frank goes silent. GWENOVIER In my research I have you listed as the only son of Earl and Lily Partridge. -LRB- beat. -RRB- And what I learned from Mrs. Simms is that your mother passed away in 1980. -LRB- beat. -RRB- See : It's my understanding that the information supplied by you and your company and answers to question's I've asked are incorrect, Frank. And if I'd like to get to the bottom of who you are and why you are then I think your family history - you're accurate family history. well : this seems important. Frank? VIDEO CAMERA POV - THAT MOMENT Frank lights his cigarette. CAMERA zooms into CU. FRANK Are you asking me a question? GWEN Well I guess the question is this : Do you remember Miss Simms? BEAT. HOLD, THEN :", "INT. GAME SHOW SET - THAT MOMENT Jimmy asks questions. Stanley is visibly uncomfortable. JIMMY Kids, Adults, I'd like you to put yourself at a picnic. Place yourself there with your family and friends if you'd like - you'll hear three musical notes and you are to tell me what it might represent that you'd find at a picnic - The First Three Notes : OC we hear three musical notes. The `` Adults'' panel lights up, Todd answers. TODD Well, Jimmy, I know this, I have perfect pitch, you see - and that would be A - D - E. And that would represent lemonade. JIMMY For 250. Next notes, please : OC musical notes : E - G - G. TODD -LRB- buzzes. -RRB- Got it. That's E - G - G which would be ~ egg.'' Richard and Julia glance at Stanley, like `` why the fuck are n't you answering these questions?'' He looks straight ahead. JIMMY For 500 and the Third Set Of Notes : OC musical notes : B - E - E. TODD -LRB- buzzes. -RRB- B - E - E - and do n't get stung. The `` Adults'' are now within 200 points of the `` Kids,'' on the scoreboard.", "INT. LAWYERS OFFICE - THAT MOMENT Linda seated across from a lawyer, ALAN KLIGMAN -LRB- 50s -RRB- She's visibly shaking and fucked up. KLIGMAN You do n't want any water? LINDA No. I just. -LRB- starts crying a bit. -RRB- I'm so fucked up here Alan, I do n't know. there's so much. so many things - KLIGMAN Are you on drugs right now? LINDA If I talk to you. y' know. if I tell you things. then you're a lawyer, right? You ca n't say things, you ca n't tell anyone, it's like the privelage, right? Attornery - client, you understand? KLIGMAN Not exactly, Linda. I'm not sure where you're going with this - LINDA Like a shrink, like if I go to see a shrink, I'm protected, I can say things - fuck - I do n't know what I'm doing - KLIGMAN Linda, you're safe. Ok. It's alright. You're my friend. You and Earl are my clients and what you need to talk about wo n't leave this room, you have something you have to say - LINDA - I have something to tell you. I have to tell you something. I want to change his will, can I change his will? I need to - KLIGMAN You ca n't change his will. Only Earl can change his will. LINDA No, no. no, you see. I never loved him. I never loved him, Earl. When I started, when I met him, I met him and I fucked him and I married him because I wanted his money, do you understand? -LRB- beat. -RRB- I'm telling you this now. this I've never told anyone. I did n't love him. And now. I know I'm in that will, I know, I was there with him, we were all there together when we made that fucking thing and all the money I ` II get - I do n't want it - Because I love him so much now. I've fallen in love with him now, for real, as he's dying, and I look at him and he's about to go, Alan, he's dead. he's moments. -LRB- beat. -RRB- I took care of him through this, Alan. And What Now Then?", "INT. GAME SHOW STAGE - THAT MOMENT CAMERA pushes in on Jimmy. JIMMY Let's listen : There's an OC VOICE that speaks the clue. VOICE `` Hello, Mary. How are you and the seven kids? As you probably heard by know, we sure gave that Pope a run for his money -'' The ~ Adults'' buzz. Jimmy looks to Mim. MIM Well : That would be General Robert E. Lee. His wife Mary Park Custiss. And he did have seven children and he would be talking about Pope, who he defeated at the Battle of Monasses -", "INT. PARENTS GREEN ROOM - THAT MOMENT CAMERA pushes in on Rick, who sits back, starting to get real pissed that Stanley is n't answering these questions. RICK C'mon, c'mon, c'mon, snap out of it.", "INT. GAME SHOW STAGE - THAT MOMENT CAMERA moves from the AUDIENCE over to the Stage, listening to another question that is spoken by the OC voice - this time in French. VOICE -LRB- in French. -RRB- `` Hello, Josephine, I'm speaking from Egypt -'' The Adults buzz again and Mim answers. JIMMY Mim - MIM Well that would be Napoleon speaking to Josephine. JIMMY That's right! ANGLE, BURT. He stands off, looking at the scoreboard as the Adults have now pulled ahead by 200 points. he mumbles and grumbles to himself.", "INT. LAWYER'S OFFICE - THAT MOMENT Linda continued with the lawyer, Kligman. LINDA I do n't want him to die, I did n't love him when we met, and I've done so many bad things to him that he does n't know, things I want to confess to him, but now I do : I love him. I love him so much and I ca n't stand - he's going. KLIGMAN What kind of medication are you on right now, Linda that's - LINDA This is not any fucking medication talking, this is n't - I do n't know. I do n't know - Can you give me nothing? You have power of attorney, can you see him, can you, in this final fucking moment, go see him and make sure - change the fucking will - I do n't want any money, I could n't live with myself, this thing I've done - I've fucking done so many bad things - I fucked around. I fucked around on him, I fucking cheated on him, Alan. You're his lawyer, our laywer, THERE, I'm his wife, we are married. I broke the conract of marriage, I fucking cheated on him, many times over, I sucked other men's cocks and fuck - fuck - fuck -. fuck. Other Things I've Done. KLIGMAN Adultery is n't illegal - it's not something that can be used in a court to discredit the will or - Linda. Linda. Calm down. LINDA I ca n't. KLIGMAN You do n't have to change the will, if what you want to do is get nothing you can renounce the will when it's time. LINDA Where will the money go? KLIGMAN Well. Considering that there's no one else mentioned in the will. we'd have to go to the laws of intestacy, which is - as if someone died without a will - LINDA What does that mean? KLIGMAN The money would go to Frank. The court would put the money in the hands of a relative - LINDA - that ca n't happen. Earl does n't want him to have the money, the things. KLIGMAN - unless Frank is specifically ommitted as a beneficiary that's what will happen. LINDA This is so over - the - top and fucked - up I can hardly stand it. KLIGMAN Linda, you just have to take a moment and breath and one thing at a time - LINDA Shut the fuck up. KLIGMAN I'm trying to help, Linda - LINDA Shut the fuck up. Shut the fuck up. KLIGMAN You need to sober up. LINDA Now you must really shut the fuck up, please. Shut The Fuck Up. KLIGMAN Linda - LINDA I have to go. She heads for the door. KLIGMAN Let me call you a car, Linda. LINDA Shut the fuck up. She's out the door.", "INT. GAME SHOW STAGE - THAT MOMENT Three MEN in TUXEDOS and HARMONICAS have taken a place near the band. Jimmy, reading from his cards, introduces them and asks the following question : -LRB- Note : Jimmy's speech is starting to slur a bit more at this point. His motor skills seem to be fading quickly. -RRB- JIMMY Imagine you are attending a jam session of classical composers and they have each done an arrangment of the classic favorite, `` Whispering.'' Here are three variations on the theme, as three classic composer's might have written it - you are to name the composer. The First : The Harmonica Fella's play an arrangment. CAMERA pushes in close on STANLEY and TITLS DOWN CLOSE TO HIS PANTS. Stanley begins to piss his pants. He trembles and shakes and holds back tears as the wet stain gets bigger. OC through this we hear the Adults answer the question : TODD -LRB- OC. -RRB- Well, Jimmy that sounded to me like Brahms, a bit like his Hungarian Dance Number Six, I believe. JIMMY -LRB- OC. -RRB- Excellent. Next number : The Harmonica Fella's play another arrangment of `` Whispering'' that sounds like Ravel's `` Bolero.'' Stanley moves his arms down to his sides to cover his crotch and pull at his pants - and his BUZZER goes off with a brush of the side of his arm - JIMMY Stanley the Man - answer : Stanley. HOLD. He starts to cry. Julia and Richard look over at him and see his pants and they start to laugh a bit. STANLEY I do n't know the answer. Jimmy starts to STUDDER and SHAKE a bit. holds a tight grip on the podium. JIMMY GATOR That is not right! That's not right, Stanley, the answer is. Ravel. Ravel. xhjksndlsmnop. CAMERA WHIPS and pushes over to the FLOOR DIRECTOR. FLOOR DIRECTOR What the fuck is wrong with him? -LRB- into headseat. -RRB- What do you wan na do here, he's fading fast -", "INT. BOOTH - THAT MOMENT The main booth with monitors and board, etc.. The DIRECTOR and and ASSITANT watch the monitors. DIRECTOR I need a better cutaway, go to the black chick, Camera Three, Camera Three the black chick - A monitor sees the video camera zoom in on Mim as a cutaway but her face is like, `` What the fuck is going on?''", "INT. GAME SHOW SET - THE FLOOR - THAT MOMENT Jimmy is, with a lot of trouble, trying the Harmonica Fella's with the next question. Burt walks over quickly to the Floor Director. BURT Get the technical difficulty card up - CAMERA pushes over to Stanley, who's crying and shaking. CAMERA pushes in on Jimmy, who stumbles back from his podium and falls to the ground. taking the podium with him. CAMERA pushes in on Burt and the Floor Director. BURT Cut it, go to the card, go to the fucking card -", "INT. BOOTH - THAT MOMENT The DIRECTOR snaps his fingers to an ASSISTANT at the board. DIRECTOR Go to the card, now - go - CU - MONITOR IMAGE. The card that reads, `` Technical Difficulty,'' comes up and holds.", "INT. CLAUDIA'S APARTMENT - THAT MOMENT CAMERA pushes in real quick on Claudia SNORTING COKE from her hand in the bedroom - she rushes back into the kitchen area - CLAUDIA Ok, ok. I'm back. JIM KURRING This is, for not a fresh cup, a great cup of coffee, Claudia - CLAUDIA Thank you. She sits down, ready to talk, lights a cigarette. CLAUDIA What do you wan na talk about?", "INT. GAME SHOW STAGE - THAT MOMENT Burt, Mary and Assistants and folks run over to Jimmy. He stands, does n't realize what's happend and mumbles, `` what the fuck, what the.'' The AUDIENCE is murmuring, standing and watching the scene.", "INT. HALLWAY - THAT MOMENT CAMERA leads RICK as he comes charging out of the green room and races down the hallway -", "INT. GAME SHOW SET - THAT MOMENT CAMERA with the `` Kids'' panel as Richard and Julia looking at Stanley. RICHARD Did you piss your fuckin' pants, Stanley? STANLEY Shut up - shut up - Cynthia walks over. CYNTHIA What happend, what's going on? STANLEY NOTHING. NOTHING HAPPEND. GO AWAY. CYNTHIA Do n't tell me to go away, Stanley. I am the Co - ordinator in this show and you will answer the questions that I ask, you understand? Rick comes over. RICK What's the problem, what's the problem here? STANLEY I'm fine. nothing. RICK Why did n't you answer those questions? STANLEY I did n't know the answer - RICK Bullshit. Bullshit. You know the answer to every goddamn question and I knew the answer to those questions and I'm not half as smart as you are so What Happened? STANLEY I do n't know. RICHARD He pissed his pants. RICK Did you - did you - STANLEY I did n't I'm fine, I'm fine. RICK Stand up. STANLEY I said I'm fine. Rick grabs Stanley a bit and sees a large WET STAIN in Stanley's pants. RICK oh Jesus, what the fuck? STANLEY I'm fine. I'm fine, I just wan na keep playing - RICK Why did you do this? ANGLE, JIMMY. THAT MOMENT. Jimmy is sweating. JIMMY I had a stroke, I think I had a stroke. BURT Call 911. Call 911 right now. JIMMY No, no, no. I'm fine. It's small, I wan na keep going - BURT no, no, c'mon Jimmy we need to call this quits and you need to see a doctor. JIMMY I'm telling you right now, I'm fine. I lost my goddamn balance and I could n't see a moment, but I'm ok. BURT Call 911, Mary, do it right now. JIMMY You fuckin' do n't do that. You do n't do it, you cocksucker. I'll fuckin' kill you with my barehands. Go. get the fuck fuck - we're going back and we finish the show - BURT Jimmy you look like you're about to fuckin' die right here - JIMMY Shut it. Shut yer fuckin' mouth. ANGLE, RICK and STANLEY. RICK Are we gon na keep going with this game? STANLEY Yes. RICK You're two fuckin' days from the record, get through this and I ` II do anything for you, you just got ta get through this - STANLEY Alright. RICK hang in there, ok. I love you. Rick walks away with Cynthia. Dick Jennings has sobered up a bit and is doing bad, `` calm down/comedy/everything's cool'' stuff for the Audience. Jimmy and Burt and Mary stand up and a MAKE UP person runs over with some water and cleans him up a bit. Burt moves away - FLOOR DIRECTOR What are we doing? BURT This is fuckin' stupidity, we'll get back on and go through it - The Floor Director starts throwing directions in his headset and to the camera people, etc..", "INT. HOLIDAY INN SUITE - THAT MOMENT. Sequence G CAMERA holds on Frank and starts a SLOW DOLLY IN. Gwenovier remains OC. GWENOVIER -LRB- OC. -RRB- Frank. Frank. what are we gon na do here? Are we having a staring contest? -LRB- beat. -RRB- Do you have anything to say? CAPTAIN MUFFY -LRB- OC. -RRB- I think maybe we should rap this up, Chief - Frank SNAPS his fingers and signals captain Muffy to stay quiet. GWENOVIER -LRB- OC. -RRB- I'm not trying to attack you, Frank. I think that if you have something that needs to be cleared up. Well, then. -LRB- beat. -RRB- I was told that your father. -LRB- your father is Earl Partridge,. -RRB- that he left you and your mother and you were forced to take care of her during her illness. that you took care of your mother as she struggled with Cancer. -LRB- beat. -RRB- And Miss Simms became your caretaker after your mother died. Frank. Frank. -LRB- beat. -RRB- Frank, can you talk about your Mother? -LRB- beat. -RRB- Frank. can you? CAMERA LANDS CU. ON FRANK. HOLD, THEN :", "INT. CLAUDIA'S APARTMENT - THAT MOMENT Claudia and Jim Kurring talking. She's rubbing her jaw, blabbing away and he's listening with a grin. CLAUDIA - yeah, yeah, I get in it in my ear. It's TMJ is what it's called technically. JIM KURRING What's that stand for? CLAUDIA Tempural - something - mandibular, thing with something, I dunno. But it affects my ear, I do n't even know if I have TMJ exactly but just very tight, like - it's like a muscle spasm and it's just gets so clenched - She's interupted by the call on his RADIO. He takes the call. -LRB- Director's Note : Technical blah - blah - blah, etc. -RRB- JIM KURRING This is my job. CLAUDIA We were just gettin' warmed up. We were just getting started. JIM KURRING Well if you listen' to that music too loud again and that fella returns maybe we'll share another cup of coffee - CLAUDIA If you're not here for a 422 - JIM KURRING No. No. Do n't joke about that. That's not funny, Claudia. Please, now. CLAUDIA I'm sorry. JIM KURRING Ok, then. Keep your chin up and your music down, alright? CLAUDIA Yes. I will. It was nice to meet you Officer Jim. JIM KURRING Just Jim. CLAUDIA yeah, good, ok. JIM KURRING Bye, bye, Claudia. CLAUDIA Good bye. She closes the door. HOLD.", "EXT. CLAUDIA'S APARTMENT - THAT MOMENT Jim Kurring stands outside the door for a moment. He hesitates a moment, then. he's about to knock. His RADIO goes off. he turns it down real quick -", "INT. CLAUDIA'S APARTMENT - THAT MOMENT Claudia hears the RADIO go off and stands back a bit from her door. hold a moment. then there's a KNOCK. she opens up : CAMERA DOLLIES IN A LITTLE ON JIM KURRING. JIM KURRING I'm sorry, Claudia. CLAUDIA What is it? Did you forget something? JIM KURRING No, no. I was wondering. man oh man. I think I feel like a bit of a scum - bucket doing this, considering that I came here as an officer of the law and the situation and all this but I think I'd be a fool if I did n't do something I really want to do which is to ask you on a date. CLAUDIA You wan na go on a date with me? JIM KURRING Please, yes. CLAUDIA Well. is that illegal? JIM KURRING No. CLAUDIA Then. I'd like to go. What do you want to do? JIM KURRING I do n't know. I have n't thought about it - you know what - that's not true - I have thought about it. I've thought about going on a date with you since you opened the door. CLAUDIA Really? JIM KURRING Yeah. CLAUDIA I thought you were flirting with me a little. He laughs and she laughs and then : CLAUDIA Do you wan na go tonight? I mean, are you working? JIM KURRING No, I'm off tonight. I would lov - like, to go tonight, I can pick you up, I can pick you up here at about what time? What time? CLAUDIA Eight o'clock? JIM KURRING What about ten o'clock, is that too late? I do n't get off and then - CLAUDIA Oh sure yes, that's fine, late dinners are good. Should I get dressed up or -? JIM KURRING No, no, just casual maybe, maybe I thought - there's a spot I like to go, it's real nice that overlooks a golf course and the course is lit up at night - CLAUDIA Billingsley's? JIM KURRING Yeah, You know it? You know Billingsley's? CLAUDIA It's my favorite place - JIM KURRING Oh, see? This is great. Ten o'clock. CLAUDIA Great, bye. JIM KURRING Bye. She closes the door.", "INT. HOLIDAY INN/SEMINAR ROOM - THAT MOMENT CAMERA pushes in on DOC, who's speaking to a group of Frank's disciples. He's blah - blah - blahing about Seduce and Destory, etc.. DOC Not true. Not true. And you know what? Even if you do n't get to pump her, you can still practice honing your skills on a femenist - DISCIPLE - I know - DOC - and you need to do that. DISCIPLE I will. DOC No, you need to do it. His CEL PHONE rings and he excuses himself. DOC -LRB- into phone. -RRB- Thisz Doc.", "INT. SEDUCE AND DESTROY CONDO - THAT MOMENT CAMERA on JANET. She's on the phone. It rings. JANET Doc it's Janet. DOC What's up? JANET I have to talk to Frank, is he nearby? DOC He's doing the interview with the lady - JANET I need you to interupt him, I need to get him on the phone with me right away - DOC What happend? JANET Doc, go get Frank and put him on the phone.", "INT. HOLIDAY INN SUITE - THAT MOMENT CAMERA pushes in on Gwenovier and Frank. -LRB- Dead on Singles. -RRB- GWENOVIER C'mon, Frank. What are you doing? FRANK What am I doing? GWENOVIER Yeah. FRANK I'm quietly judging you.", "INT. GAME SHOW STAGE - THAT MOMENT CAMERA pushes in on the FLOOR DIRECTOR again who counts down. FLOOR DIRECTOR And. three. two. one - He points to Jimmy, who pops into shape, looks into the TV CAMERA. JIMMY GATOR What a day and what a round, going back and in for me and the final speed round to determine who's who today - scores on the board's Kids : 9225. Adults : 11,000. And this game is not out of reach for the Kids. can they hang in there and break the record? -LRB- etc, etc. -RRB- Elders! Who's the lucky so and so? Mim from the `` Adults'' speaks into her mic. MIM It's gon na be me, Jimmy. JIMMY C'mon down here, Mim. She stands up and crosses over to Jimmy. This is for a ONE ON ONE final section speed round. One Kid vs. One Adult. ANGLE, STANLEY. CAMERA pushes in on him and lands in CU. He takes his shirt out of his pants and tries to pull it down enough to cover the large wet stain in his pants. ANGLE, JIMMY AND MIM They chat about the game so far, etc. `` They're quite a challenge, etc.'' ANGLE, STANLEY and RICHARD and JULIA. Stanley ca n't pull his shirt down enough to cover. He turns to Richard and Julia. STANLEY I do n't wan na go, I ca n't do it this time. RICHARD - the fuck are you talking about? JULIA You have to go, Stanley. You're the smartest. STANLEY I do n't wan na do it. Why ca n't one of you do it - RICHARD Stanley if you do n't fuckin' stand up and go over there I'm gon na beat your ass - STANLEY I'm sick of being the one, the one who always has to do everything, I do n't want to be the one always - JIMMY -LRB- OC. -RRB- KIDS! Jimmy looks over to the `` Kids'' panel. JIMMY Do I even have to ask? Stanley, get your butt over here - Stanley looks like a deer in headlights. The AUDIENCE applauds.", "INT. SMILING PEANUT BAR - THAT MOMENT The TELEVISION above the bar holds this moment where Stanley wo n't move. DONNIE is seriously fucked up now and the CAMERA pushes in on him. He glances around, up the television, sees Stanley. BEAT. Thurston and the other folks around chat away, etc.. DONNIE I'm sick. I'm sick here now. They continue to chat, trying to ignore him now. DONNIE I confuse melancholy and depression sometimes. THURSTON Mmm.Hmm. DONNIE You see? THURSTON Why do n't you run along now friend, your dessert is getting cold. DONNIE I'm sick. THURSTON Stay that way. DONNIE I'm sick and I'm in love. THURSTON You seem the sort of person who confuses the two. DONNIE That's right. That's the first time you're right. I CONFUSE THE TWO AND I DO N'T CARE. Donnie looks to Brad, then : DONNIE HEY. HEY. Brad looks. Donnie stands up, backs away from the bar as he talks. DONNIE I love you. I love you and I'm sick. -LRB- beat. -RRB- I ` II talk to you. I'll talk to you tommorrow. I'm getting corrective oral surgery tomorrow. For my teeth. For my teeth and for you. for you so we can speak. You have braces. Me too. Me too. I'm getting braces, too. For you. For you, dear Brad. And I do n't have any money. And I do n't have any money now but I ` II get it. I will for you, Brad. I love you, Brad. Brad the Bartender. -LRB- beat, crying now. -RRB- You wan na love me back? Love me back and I'll be good to you. I ` II be god damn good for you. And I wo n't be mad if you do n't know who said what. I wo n't punish you if you get the answer wrong. I can teach and tell you : Samuel Johnson. THURSTON Brad, honey, you have a special secret crush over here I think, do n't take him too lovely - he might get hurt - DONNIE You mind your own bussines. THURSTON Gently, son - DONNIE Brad, I know you do n't love me now - THURSTON `` It's a dangerous thing to confuse chidlren with angels.'' DONNIE - and you wan na know the common element for the entire group, like he asks. I'll tell you the answer : I'll tell you,'cause I had that question. I had that same question. Carbon. In pencil led, it's in the form of graphite and in coal, it's all mixed up with other impurities and in the diamond it's in hard form. -LRB- Jimmy impersonation. -RRB- `` Well. all we were asking was the common element, Donnie. but thank you for all that unnecessary knowledge. ahhh, Kids! Full of useless thoughts, eh?'' Thank you. Thank you. -LRB- beat. -RRB- And the book says : `` We may be through with the past but the past is not through with us.'' -LRB- to Thurston. -RRB- And NO IT'S NOT DANGEROUS TO DO THAT. Donnie has backed away, close to the bathroom. He heaves a bit, cries, turns and runs for the bathroom -", "INT. SMILING PEANUT/BATHROOM - THAT MOMENT OVERHEAD ANGLE, LOOKING STRAIGHT DOWN ONTO : Donnie bursts in the bathroom and starts to vomit and moan, etc..", "INT. POLICE CAR - MOVING - THAT MOMENT It's pouring RAIN still. Jim Kurring is talking to himself, doing `` Cops.'' -LRB- Dial : Ref. improv. notes/sweet girl/excited/date / job -RRB- Jim Kurring interupts himself and notices something -LRB- very blurry, through the RAIN -RRB- JIM'S POV : A young BLACK MALE -LRB- late 20s -RRB- is standing on the street, about to jay - walk. The Young Black Male, at the site of Kurring, turns around and walks back the direction he came, deciding against the jay walk. Jim Kurring looks in his rear view mirror and sees that the Young Black Male is now RUNNING back towards something -", "EXT. STREET - THAT MOMENT Jim Kurring's POLICE CAR makes a U - turn.", "INT. CLAUDIA'S APARTMENT - THAT MOMENT Claudia snorts a line of coke, comes up and looks at her televison. It's playing, `` What Do Kids Know?''", "INT. GAME SHOW SET - THAT MOMENT Stanley does n't move. He says to Jimmy : STANLEY I'm going to pass, Jimmy. ANGLE, JIMMY. He does n't know what to do and he's a bit out of it. JIMMY Stanley, passing to one of the other kids - RICHARD We want Stanley to go, Jimmy. STANLEY I do n't want to go. BEAT.", "INT. HOLIDAY INN/LOBBY - THAT MOMENT CAMERA -LRB- STEADICAM -RRB- follows/leads DOC as he walks from the seminar area to the elevators. this is one continuous shot. as he gets into the elevator's and rides up, talking on the cel phone. DOC I'm walking towards the elevator's, Janet. JANET -LRB- OC. -RRB- Fine. Phil, you still there? PHIL -LRB- OC. -RRB- Yeah I'm here. JANET -LRB- OC. -RRB- I wan na ask you one question, Phil : Have you talked to anyone else about this? About Frank and Earl? PHIL -LRB- OC. -RRB- No I have n't. JANET -LRB- OC. -RRB- Alright, good, I'd like to keep it that way - all the security and what not, you understand? This could be a delicate situation for Frank and the family - DOC -LRB- OC. -RRB- What happend? JANET -LRB- OC. -RRB- Doc, just - do n't, how close are you? DOC -LRB- OC. -RRB- I'm about to get off the elevator - The Elevator doors DING and OPEN and Doc steps out - heads down the hallway towards the suite - JANET -LRB- OC. -RRB- Phil, hang in just one more minute ok? I'm gon na put you on hold - Doc you still there? DOC Yeah, I'm here, I'm off the elevator, walking down the hall, now -", "INT. GAME SHOW SET - THAT MOMENT Stanley does n't move. Jimmy tries to hold it all together. JIMMY Richard, Julia, kids? What's it gon na be, we need a player for one on one - RICHARD We want Stanley to play, Jimmy and we're not sure why he wo n't - STANLEY I do n't want to play. I always play, I always answer the questions and I do n't wan na do it anymore - CAMERA pushes in on Burt, who snaps at Cynthia : BURT What the fuck is he doing, what's wrong with him? CYNTHIA I have no idea.", "INT. HOLIDAY INN - HALLWAY - THAT MOMENT CAMERA -LRB- STEADICAM -RRB- following Doc as he walks swiftly down the hallway towards the suite -", "INT. EARL'S HOUSE - THAT MOMENT CAMERA on Phil on the phone. He sits watching Earl. 30fps. PUSH IN.", "INT. EARL'S HOUSE - GARAGE - THAT MOMENT It's black. The GARAGE DOOR opens. Linda's MERCEDES is pulling in out of the POURING RAIN.", "INT. BOOTH - THAT MOMENT The DIRECTOR and his ASSISTANT and other folks in the booth. DIRECTOR This fuckin' kid ai n't gettin' up and we do n't have a show, live television, ladies and gents -", "INT. PARENTS GREEN ROOM - THAT MOMENT The other parents snap at Rick. CAMERA DOLLIES in on him slow. JULIA'S MOM What the hell does he think he's doing? RICHARD'S DAD Is this a point? is this a game? RICK GET THE FUCK UP, KID.", "INT. HOLIDAY INN SUITE - THAT MOMENT CAMERA on Frank. He looks at his watch, then : FRANK Time's up. Thank you for the interview. GWENOVIER So you sat it out, that's what you did? FRANK You requested my time and I gave it you, you called me a liar and made accusations. And you say, `` If I'd known I would n't have asked,'' then it's not an attack? Well, I do n't wan na be the sort of fella who does n't keep his word. I gave you my time, Bitch. So fuck you now. Frank heads out of the room quick. CAMERA leading him in CU. GWENOVIER You're hurting a lot of people, Frank - FRANK - fuck you. He's out the door with Captain Muffy in tow.", "INT. HALLWAY - THAT MOMENT CAMERA moving quick with Doc towards the room. Frank and Captain Muffy step out of the room and Doc holds up the Cel Phone. stops. DOC Frank, there's a situation on the phone -", "INT. EARL'S HOUSE - THAT MOMENT The DOGS go crazy barking and Phil jumps a bit. They hear the garage door and run towards it. The Morphine Dog runs into a wall. Phil turns his head -LRB- 40fps -RRB-", "INT. GAME SHOW SET - THAT MOMENT CAMERA on Stanley. BEAT. HOLD. JIMMY -LRB- OC. -RRB- I need a player, Kids. c'mon now. -LRB- to Audience. -RRB- The indescision of a child, ladies and germs! The AUDIENCE laughs a bit and chuckles. STANLEY This is n't funny. This is n't `` cute.'' Jimmy - Jimmy - we're not a toy - we're not dolls, here. This is n't funny you see, the way we're looked at if you think that we're cute Because What? What? I'm made to feel like a freak if I answer questions and I'm smart or I have to go to the bathroom. What Is That? -LRB- starts to cry. -RRB- And what is that, Jimmy, I'm asking? I'm asking what is that, Jimmy? I'm asking you that -? CAMERA pushes in a bit on him. JIMMY Well I'm not sure, Stanley.", "EXT. APARTMENT BUILDING/LA RIVER - THAT MOMENT CAMERA -LCB- STEADICAM -RRB- follows Jim Kurring as he walks around the side of an apartment building, looking for the BLACK MALE. he snoops a bit, holding his flashlight as it's just about dark. the side of the building runs along the L.A River. he starts in towards something. A very LOUD GUNSHOT IS HEARD and HITS on the side wall of the apartment, right next to Jim Kurring's FACE -. he ducks for cover, looses balance and falls down, in the mud, sliding down the embankment next to the L.A. River - another GUN SHOT is heard. Kurring reaches for his REVOLVER which is not in it's holster -", "INT. SMILING PEANUT/BATHROOM - THAT MOMENT CAMERA zooms in from overhead angle as Donnie continues to throw up violently.", "INT. HOLIDAY INN - STAIRWELL - THAT MOMENT (INTERCUT) CAMERA holds on Frank in close up, he's on the phone. Doc and Captain Muffy stand with him in the stairwell. JANET -LRB- OC. -RRB- I'm sorry, Frank. I did n't know what you would want here, what you would want me to do - I'm - I asked him all the right questions, he's his nurse, he's sitting right there with him and he's - I mean, I can hear him in the background - your father - FRANK Is he at the house? JANET -LRB- OC. -RRB- I asked him the exact adress and he gave it - I know that this must be hard, you having to hear this - FRANK Do n't give me things, Janet just tell me the thing, the information - JANET -LRB- OC. -RRB- I'm sorry.", "INT. EARL'S GARAGE - THAT MOMENT Linda parks the car and leaves the ENGINE RUNNING. BEAT. We can hear the DOGS BARKING OC. HOLD.", "INT. GAME SHOW SET - THAT MOMENT Stanley is continuing. He's hyperventilating. STANLEY We are not on display. I am not a doll. I AM NOT A DOLL. I' M NOT SILLY AND CUTE. I'M SMART SO THAT SHOULD N'T MAKE ME SOMETHING, SOMETHING SO PEOPLE CAN WATCH HOW SILLY IT IS THAT HE'S SMART? I KNOW. I KNOW THINGS. I KNOW. I HAVE TO GO TO THE BATHROOM I HAVE TO GO TO THE BATHROOM AND I HAVE TO GO. JIMMY I'm sorry, Stanley. Stanley embarresed now. STANLEY I'm sorry, I'm sorry, I did n't mean to do this.", "INT. PARENTS GREEN ROOM - THAT MOMENT RICK is standing now. he VIOLENTLY throws a chair against the wall and it SHATTERS into a hundred pieces - RICK FUCK. FUCK. FUCK. FUCK.", "EXT. APARTMENT/LA RIVER EMBANKMENT - THAT MOMENT It's FLOODING with RAIN. Jim Kurring is without gun and he's scared shitless. and he ca n't see. and he's running for cover in some bushes. CAMERA is HAND HELD and wild, following and falling with him. MUD and RAIN and SHIT everywhere. His POV. across a bridge. he sees the slight FIGURE as it flees. -LRB- could be the Black Male, but hard to tell in a quick glimpse -RRB- he then sees another SMALLER FIGURE scuttle away. He does n't run. he stays. holds.", "INT. CLAUDIA'S APARTMENT - THAT MOMENT CAMERA pushes in on her cocaine on the table, TILTS up to her FACE, watching the show, then WHIPS RT. and pushes in towards the MONITOR. ON THE MONITOR. Stanley is crying.", "INT. GAME SHOW SET - THAT MOMENT CAMERA on Stanley. STANLEY I do n't mean to cry, I'm sorry. JIMMY It's okay, Stanley. It's alright. CAMERA with Burt as he walks to the Floor Director. BURT Take us off the air, go to the the credits - The Floor Director starts to speak some things into the headset.", "INT. EARL'S GARAGE - THAT MOMENT Linda rolls down the windows in the closed garage with the engine running. fumes start to fill the garage. she starts to cry and lights a cigarrette. the bag of perscriptions sits next to her.", "INT. STAIRWELL - THAT MOMENT (INTERCUT) Frank on the phone with Janet, Captain Muffy and Doc in stairwell. FRANK I have n't spoken to this asshole in ten years. what did I do? What did I do today for this? For all of this? what. is this. Is This A Movie?", "INT. GAME SHOW SET - THAT MOMENT The MONITORS in the place go to a Still Card that has the `` What Do Kids Know?'' logo. and the titles start to roll on it. Stanley notices and he RUNS from the podium, towards backstage. Jimmy is standing next to Mim he holds on to her a moment. loosing his balance again. Burt and Cynthia rush the stage. Stanley dissapears from the stage.", "INT. EARL'S HOUSE - THAT MOMENT Phil still on the phone, Earl is asleep. He stands up and heads for the garage - hears the sound of the engine running - dogs are continuing to bark like crazy -", "INT. GARAGE - THAT MOMENT Linda in CU. She hesitates a moment. THEN : She quickly shuts off the engine, GRABS the bag of LIQUID MORPHINE -", "INT. EARL'S HOUSE - THAT MOMENT CAMERA leads/follows Linda as she enters, approaches Phil. PHIL Linda - LINDA What are you doing? PHIL I've got Frank. Frank Earl's son. He's. he asked me to get him and I did - LINDA Hang up the phone. PHIL No, Linda, you do n't understan - LINDA PUT THE FUCKIN' PHONE DOWN, HANG IT UP. She SLAPS his FACE HARD. The PHONE FALLS to the ground.", "INT. STAIRWELL - HOLIDAY INN - THAT MOMENT (INTERCUT) Frank on the cel phone to Janet - FRANK Put him on - Janet clicks Frank over and there's a MOMENT of BLUR/NOISE -LRB- Linda and Phil, screaming and static -RRB- and then it's gone -", "INT. EARL'S HOUSE - THAT MOMENT Linda screaming at Phil. LINDA You do n't do that, you do n't call him, you do n't know to get involved in the bussiness of his, of his of my family. this is the family, me and him do you understand? You understand? NO ONE ELSE. THERE IS NO ONE ELSE. That man, his son does not exist. HE IS DEAD. HE IS DEAD and WHO TOLD YOU TO DO THAT? PHIL Earl asked me, Linda, please, Linda, I'm sorry - Earl asked me - LINDA BULLSHIT. BULLSHIT HE DID N'T ASK YOU, HE DOES N'T WANT HIM, HE DOES N'T WANT TO TALK TO HIM, SO FUCK YOU THAT HE ASKED THAT. THERE IS NO ONE BUT ME AND HIM. She breaks down, more, more, more.", "INT. STAIRWELL - THAT MOMENT (INTERCUT) Frank listens on the phone to dead air. hold a long moment, then : He hands the phone back to Doc. FRANK There's no one there. Frank walks away quick. CAMERA leads him out of the stairwell and down the hallway. HOLD ON HIS FACE CLOSE.", "INT. GAME SHOW STAGE - THAT MOMENT CAMERA -LRB- STEADICAM -RRB- follows Mary as she runs over to Jimmy. JIMMY Take me outta here, Mary. I got ta go, I got ta go home to Rose, please, please. She leads him away. CAMERA moves over to BURT who's dealing with the situation - RICK comes running over, looking for Stanley. `` Where is he? Where the fuck did he go?'' Burt tries to calm him down. CANERA moves over to Cynthia who's dealing with Richard and Julia and Mim and Luis and Todd. CYNTHIA Let's go, c'mon, get up - RICHARD Did we win or lose, I mean -? CYNTHIA I do n't know, Richard, they need to talk it over - LUIS You lost, kid. They go to the score at the time it was called - JULIA That's not an official rule. LUIS That's the way it goes. RICHARD Bullshit. Who says that, what rule book, in what sport? This is different, it's a quiz show, they do n't go by sports rules - MIM Let's all just settle down - CYNTHIA Richard, shut it and keep it down. RICHARD If he had n't pissed his pants, we woulda won. We fucking had this game. LUIS You did n't have shit, kid. CAMERA with Jimmy and Mary as they head off, down the HALLWAY and towards some elevators - He's really out of it -", "INT. CLAUDIA'S APARTMENT - THAT MOMENT She sits in front of the coke and in front of the television. CU. TELEVISION IMAGE - THAT MOMENT A still card with the `` What Do Kids Know?'' logo and the credits still running. At the end a logo that reads : This has been a Big Earl Partridge Production", "EXT. WASH AREA/APARTMENT - DAY CAMERA -LRB- HAND HELD -RRB- with Jim Kurring. He's searches around frantic for his revolver. looking everywhere. RAIN IS POURING. He does tearful `` cops'' dial. Ref : `` I'm not goin' back to the Station House without my god damn gun.'' etc..", "EXT. STREETS/BURBANK - THAT MOMENT CAMERA tracks with Stanley as he runs and runs down the streets in the RAIN. CAMERA holds a ECU as we move.", "EXT. SMILING PEANUT/PARKING AREA - THAT MOMENT Donnie walks out and gets in his car - he goes to start it, but it wo n't start. HOLD outtside the car. Rain pouring down. He gets out and walks. A Pedestrian walking in to the bar recognizes him and smiles, says : PEDESTRIAN Smart Kid Donnie Smith! Quiz Kid! He.He. Donnie keeps walking straight past.", "INT. EARL'S HOUSE - THAT MOMENT Linda is bedside with Earl. She cries her eyes out. She speaks to him in mumbles about''. sorry.'''' . my love.'''' . you've lived a long, good life.'' She prepares the bottle of liquid morphine and sets it next to the him. HOLD. Earl comes out of it a bit, pets her head, mumbles a few words that do n't make sense. Phil in the b.g. Linda ca n't administer the drops, she turns quickly to Phil. LINDA listen. listen to me now, Phil : I'm sorry, sorry I slapped your face. because I do n't know what I'm doing. I do n't know how to do this, y' know? You understand? y' know? I. I'm. I do things and I fuck up and I fucked up. forgive me, ok? Can you just. PHIL it's alright. LINDA Tell him I'm sorry, ok, yes, you do that, now, I'm sorry, tell him, for all the things I've done. I fucked up and I'm sorry. And I'm Gon na Turn Away And Walk Now And Not Look At Him Not See My Man, My Earl, I'll leave now. and tell him it's ok and I'm ok. The whole thing was ok with me - and I know. She turns quick and walks out of the house. HOLD ON PHIL. He paces around a moment or two, looks at the side table. CU - THE BOTTLE OF LIQUID MORPHINE. It's ready to go. CU - PHIL. He looks at it.", "INT. HOLIDAY INN - SEMINAR ROOM - THAT MOMENT CAMERA holds on the image of a slide that reads : `` How To Fake Like You Are Nice And Caring'' Frank steps into FRAME. HOLD. OC we hear the audience applaud. FRANK Welcome back. Back from break. I hope you guys stayed away from those little nacho bits I saw out there. I know. I know. hey, you're not payin' for the snacks. Slight laughter. Frank slows down. FRANK `` How To Fake Like You Are Nice and Caring.'' This is. obviously. quite an important section. I mean, let's face it. face the facts. Men Are Shit, right? I mean, that is what they all say. We've all done bad things. bad things that no woman has ever done. that's what they say. We As Men are taught to apologize : `` I've done wrong.'' `` I'm sorry.'' `` My needs as a man made me.'' Something, something. bullshit. well what I would like to say. Frank references some note cards, a bit of a daze is clear now : FRANK If you feel, made to feel like you need them, like - like you ca n't live if you're without them or you need, what? They're pussy? They're love? Fuck that. Self Sufficient, gents. That's the truth. What you are - we are - you need them for what? To fucking make you a piece of snot rag? A puppett? huh? Hear them bitch and moan? bitch and moan - and we're taught one thing - go the other way - there is No Excuse I will give you, I'm not gon na apologize - I'm not gon na apologize for my NEED my DESIRE. my, the things that I need as a man to feel comfortable. You understand? You understand? You need to say something, `` my mommy hit me or daddy hit me or did n't let me play soccer, so now I make mistakes, cause a that - something, so now I piss and shit on it and do this.'' Bullshit. I'm sorry. ok. yeah. no. fuck. go. fuck. alright. go make a new mistake. maybe not, I dunno. fuck. Frank drops the microphone and walks off stage. Audience rumbles with confusion, etc.. Doc and Captain Muffy frantic, etc.. Frank heads off - slight look across the reception hall to see Gwenovier - He's gone.", "INT. EARL'S HOUSE - THAT MOMENT Sequence H CAMERA on Earl. He opens his eyes a bit. looks over to Phil. EARL Phil. Phil. Phil comes over and takes a seat next to him. EARL I'm onna try and talk. I'm atryan say some thing some thing. Earl begins to talk. -LRB- Director's Note : Following is the story Earl tells, it is to be more broken and elliptical, factoring in Earl's state of mind and health, etc, but here's the concept in its entirety. -RRB- EARL Do you know Lily? Phil. do you know her? PHIL No. EARL Lily? PHIL No. EARL She's my love. my life. love of it. In school when you're 12 years old. In school, in six grade. and I saw her and I did n't go to that school. but we met. And my friend knew her. I would say, `` What's that girl?'' `` How's that Lily?'' `` Oh, she's a bad girl. she sleeps with guys.'' My friend would say this. but then sometime. I went to another school, you see? But then. when high school at the end, what's that? What is that? When you get to the end? PHIL Graduation? EARL No, no, the grade. the grade that you're in? PHIL Twelve. EARL Yeah. So I go to her school for that for grade twelve. and we meet. she was fuckin. like a doll. porcelain doll. and the hips. child bearing hips. y' know that? So beautiful. But I did n't have sex with anyone, you know? I was not. I could n't do anything. always scared, y' know. she was. she had some boyfriends. they liked her y' know. but I did n't like that. I could n't get over that I was n't a man, but she was a woman. Y ` see? Y ` see I did n't make her feel ok about that. I would say, `` How many men you been with?'' She told me, I could n't take it. take that I was n't a man. because if I had n't had sex with women. like as many women as she had men. then I was weak. a boy. But I loved her. you understand? well, of course, I wanted to have sex with her. and I did and we were together. we met. age twelve, but then again. age seventeen. something, somethin. I did n't let her forget that I thought she was a bad. a slut. a slut I would call her and hit her. I hit her for what she did. but we married. Lily and me and we married. but I cheated on her. over and over and over again. because I wanted to be a man and I could n't let her be a woman. a smart, free person who was something. my mind then, so fuckin' stupid, so fuckin. jesus christ, what would I think. did I think? for what I've done. She's my wife for thirty eight years. I went behind her. over and over. fucking asshole I am that I would go out and fuck and come home and get in her bed and say `` I love you.'' This' z Jack's mother. His mother Lily. these two that I had and I lost. and this is the regret that you make. the regret you make is the something that you take. blah. blah. blah. something, something. -LRB- beat. -RRB- Gim me a cigarettee? Through the following Phil tries to give Earl a cigarette, which Earl ca n't get to his mouth, but then mimes that he's smoking as he starts to get more and more delusional, etc.. EARL She had cancer. from her. in her stomach and I did n't go anywhere with her. and I did n't do a god thing. for her and to help her. shit. this bitch. the beautiful, beautiful bitch with perfect skin and child bearing hips and so soft. her namewasLilysee? -LRB- beat, fading. -RRB- He liked her though he did, his mom, Frank/Jack. he took care of her and she died. She did n't stick with him and he thinks and he hates me, ok. see. I'm. that's then what you get? are you still walkin' in that car? PHIL What? Say it again. walking in the car? EARL getthat on the tv. there. Earl starts to break down in tears, streaming out of his eyes, his body is n't moving at all. EARL mistakes like this are not ok. sometimes you make some, and ok. not sometimes to make other one. know that you should do better. I loved Lily. I cheated on her. For thirty five years. And I have this son. And she has cancer. And I'm not there. And he's forced to take care of her. He's fourteen years old to take care of his mother and watch her die on him. Little Kid. And I'm not there. And She Dies. And I Live My Life. And I'm Not Fair. Thirty eight years and she has cancer and I'm gone. I leave. I walk out, I ca n't deal with that. who am I? Who the fuck do I think I am to go and do a thing? Shit on that and that lovely person. I'll go away. I'll go away. I ca n't hold this. you got ta take this fuckin' pen outta my hand. you fuckin' piss, cocksucker. atke this. Phil mimes as if he's taking a pen from Earl's hand. PHIL I got it. CAMERA stays with PHIL. Hold on him as Earl continues a moment. SLOW DOLLY IN. EARL OH FUCK. THIS FUCKIN STORY HAS FALLEN APART and I do n't even think I can. I got no punchline - we had good times later, the best times, the love of my life, I thirty eight years - but never the respect and the. she knew what I did. she knew. all the stupid things I've done but the LOVE was stronger than anything you can think up. CAMERA LANDS CU ON PHIL. Earl's voice continues over the following :", "EXT. JIMMY GATOR'S HOUSE - THAT MOMENT/EVENING Jimmy and Mary pull up in the pouring rain. Rose comes out and they help him in the house. EARL'S VOICE The attachment. I loved her so much. And I did n't treat her and the goddamn regret. THE GODDAMN REGRET. and I'll die.", "INT. JIMMY GATOR'S HOUSE - THAT MOMENT/EVENING Rose and Mary help Jimmy to the couch and get him situated. EARL'S VOICE Now I'll die and I'll tell you : what? The biggest regret of my life : I let my love go.", "INT. CLAUDIA'S APARTMENT - THAT MOMENT/EVENING Claudia in the shower. Claudia brushinq her hair in the mirror. Claudia attempting to look nice. Claudia, dressed for the date, sits in front of the coke and looks at it. EARL'S VOICE I ruined my love. jesus. jesus christ. what did I do and I had to get away? something, something to do. I ca n't explain. I love her so much. leave her there. and to punish. punish her.", "INT. POLICE CAR - THAT MOMENT/EVENING Jim Kurring on the radio of his squad car, reports the gun missing. -LRB- Technical language here. -RRB- EARL'S VOICE and the punishment for what? What? nothing. and I'm so embarresed. so embarresed for what I've done.", "INT. WASH AREA/APARTMENT BUILDING - THAT MOMENT/EVENING Other OFFICERS assist in the search for the missing gun. They are out with flashlights, etc.. A severe search of the area is underway. Jim Kurring is clearly getting a lot of shit from the other officers, etc.. EARL'S VOICE I'm seventy five years old and embarresed. million years ago. my fuckin REGRET AND GUILT AND these things. do n't let anyone tell you that you should n't regret anything. do n't do that. do n't.", "INT. POLICE STATION/REPORT WRITING ROOM - LATER/EVENING CAMERA pushes in on Jim Kurring, in civilian clothes now, filling out a Loss Report. CU's on the form. OC voices of officers making fun of him, etc.. CAMERA continues a bit past him, views, through some window, MARCIE. across the way in a detaining room. EARL'S VOICE you fuckin' regret what you want. use that. use that.", "INT. HOLDING ROOM - THAT MOMENT CAMERA pushes in on Marcie. She's crying and looking down. She lifts her head, speaks to an UNSEEN OFFICER nearby, guarding her cell. MARCIE I wan na confess what I've done.", "INT. SCHOOL LIBRARY - THAT MOMENT/EVENING Stanley breaks a window. Stanley reaches in and unlocks a lock. Stanley rummages around the dark school library. He's soaking wet. he accumulates a bunch of books and starts to search for stuff. CU - Dissolve images, optical, etc. -LRB- child performers, etc -RRB- EARL'S VOICE use that regret for you any way you want. you can use that ok. someone says not to regret or think about the past, something, mistakes we make. bullshit.", "INT. DONNIE SMITH'S APARTMENT - THAT MOMENT/EVENING Donnie takes some KEYS out of a kitchen drawer and puts them on his key chain. Donnie places the keys on one by one. EARL'S VOICE this is a long way to go for no punch. a little moral. story I say. Love. love. love. this fuckin' life. ohhhhhhh, love.", "EXT. EMPTY PARKING LOT - THAT MOMENT/EVENING/NIGHT CAMERA holds a wide angle. Linda's Mercedes is parked.", "INT. LINDA'S CAR - THAT MOMENT/EVENING/NIGHT Linda takes some pills. Then she takes some more. then she takes some more. then she swallows a whole bottle of pills. she drinks from a small bottle of Vodka. swallows every last pill. EARL'S VOICE it's so fuckin' hard. and so long. life ai n't short it's long. Life is long, godddmnit - god damn. whatd I do? Whatd I do? ohhhh what ` dIdo?", "INT. FRANK'S CAR - THAT MOMENT/NIGHT CAMERA holds CU on Frank. He just sits. BEAT. THEN. WIDER ANGLE, THAT MOMENT. Reveal that Frank's car is sitting out front of Earl's house. The Mexican Nurse that we saw earlier in the film, who Phil relieved, walks past his car and up to Earl's house.", "INT. EARL'S HOUSE - MOMENTS LATER/NIGHT Phil quietly stands in the front doorway, sotto words with the Mexican Nurse, who keeps outside. PHIL It's ok. I'm gon na stay. stay it out. The Mexican Nurse nods, understands. Phil turns back into the house.", "INT. EARL'S HOUSE - THAT MOMENT/NIGHT CAMERA CU on the bottle of liquid morphine. Phil's hand comes into FRAME and takes it. TILT up to his face. Phil is in tears. he dips the baby dropper in the bottle. Earl is out of breath, painfully. Phil hesitates, then : CU - The liquid morhphine is dropped into Earl's mouth.", "INT. CLAUDIA'S APARTMENT - THAT MOMENT/NIGHT She looks at the coke in front of her. She hesitates. Her stereo is playing a song. it plays softly, then gets a bit louder. She leans down and SNORTS the fat line of COKE. HOLD on her. she starts to sing along with the song. CLAUDIA. it's not what you thought when you first began it. you got what you want. now you can hardly stand it though by now you know, it's not going to stop.'' The SONG continues. The following has each of the principles half singing along with the song, who's lead vocal will stay constant throughout.", "INT. JIM KURRING'S APARTMENT - THAT MOMENT CAMERA PUSHES in slowly on Jim Kurring. He sits on the bed, dressed up and ready to go. He starts to sing along to the song as well. JIM KURRING it's not going to stop. it's not going to stop'till you wise up.''", "INT. JIMMY'S HOUSE - OFFICE - THAT MOMENT CAMERA moves in towards Jimmy, alone, sitting in his office, singing. JIMMY GATOR `` You're sure there's a cure and you have finally found it''", "INT. DONNIE'S APARTMENT - THAT MOMENT CAMERA pushes in on Donnie smith as he starts to sing. DONNIE SMITH `` You think. one drink. will shrink'till you're underground and living down, but it's not going to stop.''", "INT. EARL'S HOUSE - THAT MOMENT CAMERA DOLLIES in on Phil, holding back his tears and singing along to the song. as he sits over Earl. PHIL `` It's not going to stop. it's not going to stop.'' CAMERA moves over to Earl, eyes closed, starts to sing as well. EARL. it's not going to stop'till you wise up.''", "INT. EMPTY PARKING LOT - THAT MOMENT CAMERA DOLLIES in on LINDA. She's passed out in her car, head pressed against the glass, but she starts to sing along. LINDA. prepare a list of what you need before you sign away the deed,'cause it's not going to stop.''", "INT. FRANK'S CAR - PARKED - THAT MOMENT CAMERA pushes in a bit on Frank, singing along. FRANK. it's not going to stop. it's not going to stop. it's not gon na stop'till you wise up, no it's not gon na stop.''", "INT. SCHOOL LIBRARY - THAT MOMENT CAMERA pushes in, -LRB- light coming up from the book he reads -RRB- optical, glimpse what he reads. then pulls back from STANLEY. STANLEY. till you wise up, no it's not going to stop, so just. give up.'' PULL BACK.", "EXT. SKY - NIGHT Sequence I The rain stops. Suddenly and quickly it's over. Clear as a bell. HOLD. Title card : Weather information, etc..", "INT. CLAUDIA'S APARTMENT - STAIRWELL - NIGHT The door opens and Claudia looks really nice. Jim Kurring smiles and says hello.", "EXT. CLAUDIA'S APARTMENT - MOMENTS LATER Jim Kurring opens the door for Claudia and she gets in. He runs around and they drive off.", "INT. DONNIE'S APARTMENT - THAT MOMENT Donnie takes the KEYS and puts on big dark coat and looks in the mirror. DONNIE You know, you know, you know. Go, go, go.", "INT. DONNIE'S APARTMENT - STAIRWELL - THAT MOMENT Donnie knocks on his neighbor's door. A little OLD LADY opens up. LITTLE OLD LADY Donnie, oh, Donnie - DONNIE Hello, dear. I need a favor.", "EXT. DONNIE'S APARTMENT - CAR PORT - THAT MOMENT Donnie comes down and gets in the little old lady's Buick Regal and starts it up.", "EXT. EARL'S HOUSE - THAT MOMENT Frank gets out of his car and walks up to the house. He rings the doorbell.", "INT. EARL'S HOUSE - THAT MOMENT The DOGS go crazy barking. Phil walks away from Earl and answers the door. Frank standing there. Phil looks a bit surprised and fumbles a moment. They stand in doorway and speak very quietly. PHIL Hello. Frank. Frank TJ Mackey. FRANK are you Phil? PHIL Yeah. I was trying to get in touch with you. We got dissconnected. FRANK I got your message. That you were trying to get me - right? PHIL Yes. I did n't know how to find you. Earl asked me, so I looked through the adress books and there was no number, nothing - FRANK Is Linda here? PHIL She's not here, she went out. I'm sorry. This is all just so, I do n't know what, what to do - your Dad asked me to try and track you down. To get you and I did, I called the number - Do you wan na come in? FRANK Yeah let's. maybe just stand. PHIL These Dogs'll calm down - you just have to come in - He steps in the door and the dogs start to settle down a bit. PHIL He's in here. FRANK Let's just wait one minute and stay here, okay? PHIL Ok. BEAT. They stand in the foyer and the dogs eventually calm down and go away. BEAT. FRANK How long have you taken care of him? PHIL For six months. I'm the day nurse. FRANK Uh - huh. What's going on? PHIL He's. I'm sorry. so sorry. I've seen this before, you know and you do n't. He's going very fast. Frank. um. FRANK Is he in pain? PHIL I just. he was. but I gave him, I just had to give him a small dose of liquid morphine. He has n't been able to swallow the morphine pills so we now, I just had to go to the liquid morphine. For the pain, you understand? FRANK uh - huh. BEAT. Silence, then : FRANK How long. you think? PHIL Um. soon tonight. I think, yes? Tommorrow. I mean. very soon. very. FRANK When did he go off chemo? PHIL About three weeks ago. FRANK have you ever seen this. I mean, never mind, you said - PHIL I work as a nurse, for a proffesion - FRANK Uh. huh. PHIL I'm really sorry. FRANK He's in here -? PHIL Yeah. Phil starts to guide him, Frank holds him back. FRANK No, let's just wait one minute, let's just stand here one minute or so - BEAT. They stand. HOLD. PHIL I've heard your tapes on the phone. FRANK Oh yeah. PHIL When they put me on hold, to talk to you. they play the tapes. I mean : I'd seen the commercials and heard about you, but I'd never heard the tapes. FRANK Uh. huh. PHIL It's interesting. FRANK Mmm. Long pause. Then :", "INT. LAMPLIGHTER - THAT MOMENT CAMERA with Stanley, sitting alone in a booth with a Coke and a cookie. He's reading a book. BEAT, HOLD, THEN : CAMERA pans/dollies away and booms up - moving across the restaraunt - across the way, sitting in a booth by the opposite window, out of view from Stanley. Dixon, the little kid from earlier, sitting in a booth with a young black male, WORM -LRB- 20s -RRB- This is clearly the back figure we've been seeing glimpses of - ANGLE, AT THE BOOTH. Dixon eats same pudding. Worm mumbles to him, various jabs.'' . sit up straight.'''' . world is hard.'''' . little brat.'' HOLD. Worm glances across the coffee shop - he sees Stanley. Worm HOLDS his look, thinks a moment. He looks up at the WOMAN behind the counter. she's doing a crossword puzzle. Worm looks back to Dixon, subtle mumbles and gestures and few moments later, Dixon stands from the booth and exits the coffee shop. HOLD w/WORM. He sticks a finger down his throat, makes himself well with tears. He stands up OUT OF FRAME. ANGLE, COUNTER NEAR STANLEY. Worm sits into FRAME, near to Stanley. Stanley glances up, they make a quick moment of eye contact, then look away. BEAT. HOLD.", "EXT. PARKING LOT/BEHIND LAMPLIGHTER - MOMENTS LATER CAMERA follows Dixon as he walks towards an old beat up PARKED CAR. He stops, hesitates, looks across the way - LINDA'S MERCEDES is parked. He hestitates a moment, looks left and right and all around and then he starts to walk over to the car. AT LINDA'S CAR. Dixon sees that she's passed out, knocks on the window. DIXON Lady. hey Lady. Lady. you ok? you alive. huh. hey? He looks around again, then gets in the passenger's side of the car, shakes her same more. DIXON Lady. Lady. Hey wake up. Lady? Dixon reaches down and takes her PURSE, takes the MONEY out of the WALLET and then reaches for her CEL PHONE and dials 911. DIXON Hello? Hello? I have an emergency situation - this lady - this lady seems like she's dead - hello? She's in the parking lot -. -LRB- etc. gives information regarding location. etc. -RRB- Then he gets out, walks back across parking lot. and into the concealed parked car he came from -", "INT. JIMMY'S HOUSE - LIVING ROOM - THAT MOMENT Jimmy and Rose. They're on the couch. Lights dim. Sitting, talking. She hands him a pill from a bottle with a drink. JIMMY I do n't think I want that. ROSE It'll take the pain away. JIMMY It's not really pain. She sets it on the coffee table. Drinks a drink herself. JIMMY I got ta ask you for a cigarette,'cause I do n't wan na spend six hours tryin' to get it to my mouth - She lights a cigarette, puts it in his hand and he struggles a bit with his hand/eye coordination. beat, then. JIMMY How do we do this, then? ROSE We just do it. we do it and we figure it out and we do as we do, I guess. JIMMY Do you love me, Rose? She smiles and moves closer to him. ROSE You're my handsome man. JIMMY I'm a bad person. ROSE No. No. JIMMY No, I mean : I'm telling you this, now. You see? You see I want to make everything clear and clean. and apologize for me. for all the stupid things I've done. that will eat me up. ROSE You feel like you want to be forgiven for your sins? Honey, you're not on your death bed, yet. this kinda talk's gon na get you in trouble - JIMMY - do n't. do n't. Please. Just. listen to me. honey. -LRB- beat. -RRB-. I've done. I've cheated on you. Rose does n't move much. Hold. JIMMY I've cheated on you and it kills me and the guilt of what I've done. I do n't want you to think. maybe you knew, I think that maybe you've known. So I hope that I'm not saying this for me. for me to make myself feel better about what I've done. but for making you not feel like you're sitting there like a jerk. you've been the good one. You understand. I'm so sorry for all I've done wrong. and this is pathetic. what? `` Dying man, confess the sins'' something? Is it selfish for me to say this? To say what I've done. I feel better already. I do. do you hate me? Rose takes a long moment, then : ROSE No. I do n't hate you. -LRB- beat. -RRB- Do you want talk. do you really want to talk to me and say things and get things figured out, Jimmy? JIMMY Yeah. ROSE The question is n't wether or not you cheated on me, the question is how many times have you cheated on me? JIMMY Will that help? ROSE Yeah.", "INT. BILLINGSLEY'S - THAT MOMENT In a secluded table in this dark steak place. Jim Kurring and Claudia. CAMERA does a slow push in on a 2 - shot. CLAUDIA Did you ever go out with someone and just. lie. question after question, maybe you're trying to make yourself look cool or better than you are or whatever, or smarter or cooler and you just - not really lie, but maybe you just do n't say everything - JIM KURRING Well, that's a natural thing, two people go out on a date, something. They want to impress people, the other person. or they're scared maybe what they say will make the other person not like them - CLAUDIA So you've done it - JIM KURRING Well I do n't go out very much. CLAUDIA Why not? JIM KURRING I've never found someone really that I think I would like to go out with. CLAUDIA And I bet you say that to all the girls - JIM KURRING No, no. CLAUDIA You wan na make a deal with me? JIM KURRING ok. CLAUDIA What I just said. y' know, people afraid to say things. no guts to say the things that they. that are real or something. JIM KURRING yeah. CLAUDIA To not do that. To not do that that we've maybe done - before - JIM KURRING Let's make a deal. CLAUDIA Ok. I'll tell you everything and you tell me everything and maybe we can get through all the piss and shit and lies that kill other people. He laughs a bit uncomfortable. repeats her line. JIM KURRING Wow. huh.''. piss and shit.'' CLAUDIA What? JIM KURRING You really use strong language. CLAUDIA I'm sorry - JIM KURRING - no, no, it's fine. Fine. CLAUDIA I did n't mean. it's seems vulgar or something, I know - JIM KURRING It's fine. CLAUDIA I'm sorry. JIM KURRING nothing. I'm sorry. CLAUDIA No, I'm sorry. I'm saying I'm sorry. I talk like a jerk sometimes - JIM KURRING - well I'm a real. y' know, straight when it comes to that. curse words I just do n't use much - CLAUDIA I'm sorry. BEAT. CLAUDIA I'm gon na run to the bathroom for a minute. maybe just - JIM KURRING ok. CLAUDIA ok. She goes. HOLD with him for a moment.", "EXT. SOLOMON and SOLOMON ELECTRONICS - THAT MOMENT CAMERA is around back with Donnie in the Buick Regal. He parks, gets out, looks around the empty place. CAMERA tracks with him toWards a back loading dock area. He puts a large HAT on his head, to cover his face. He takes one of the KEYS from the key chain and uses it to get in a door in back. He enters.", "INT. SOLOMON AND SOLOMON ELECTRONICS - THAT MOMENT Donnie in a back corridor. He walks down through some BOXES and assorted MERCHANDISE towards another door. He pulls his hat down some more, moves swiftly. He arrives at another door and does a KEY PAD CODE thing and also uses ANOTHER KEY from the key chain. ANOTHER BACK CORRIDOR Donnie enters, walks towards Solomon's office and does another Key Pad Code and Lock thing and enters - SOLOMON'S OFFICE Donnie enters, takes a quick beeline to behind the desk and under the floor, under a rug he kneels down. DONNIE'S POV he pulls the rug back and there's a SAFE. He does the combination and opens it up. IN THE SAFE. There's five stacks of five thousand dollars for a total of $ 25,000. In addition, some jewelry and some papers, etc.. CU - DONNIE he starts to take the money, putting into a plastic shopping bag.", "INT. EARL'S HOUSE - THAT MOMENT Frank and Phil stand in the foyer. They're quiet a moment, then : FRANK So. Phil. um. I think I'm gon na step in and try and see him and say something if he can. talk. I mean : PHIL ok. FRANK Can you stand. back. maybe, I mean. just a little bit. in the room is ok, but back from us a little. PHIL yeah. Frank walks slowly into the Living Room and over to Earl's bedside. He's holding back his tears. He sits. Earl is eyes closed, breathing a bit irregular. HOLD. FRANK Dad. Dad. hey. Earl? He tries to wake him a bit, but Earl is not moving. FRANK hey. Dad. Dad can you wake up a minute Dad? He turns to Phil, crying now, says : FRANK He's not waking up.", "INT. JIMMY'S HOUSE - THAT MOMENT CAMERA holds CU on Jimmy. ROSE How many times. it's ok. just say. Just say. JIMMY I do n't even remember. many. twenty. maybe more. not much more. twenty times. BEAT. ROSE I do n't hate you, Jimmy. But I have a couple questions that I wan na ask. JIMMY I'll answer anything. ROSE Was there anyone that I know? JIMMY Yes. ROSE Who? JIMMY Rose, I do n't - ROSE hey. JIMMY Paula. Ellen. She laughs a bit, rolls her eyes. JIMMY That's it. ROSE No one else that I know? JIMMY No. ROSE How long with Ellen? JIMMY Just once. ROSE How long with Paula? JIMMY Two years. three years. ROSE What about now? JIMMY It's over. I talked to her this morning. ROSE Is it over'cause you're sick? JIMMY It's over becuase. for all the the right reasons I hope, what I said. ROSE Do you have any children with anyone? JIMMY What? No, Rose, jesus, no - ROSE Well maybe. JIMMY I do n't. ROSE Do you feel better now that you've said this? JIMMY I do n't know. ROSE I'm not mad. I am, but I'm not. Y' know? JIMMY I love you so much. ROSE I'm not through asking my questions. Jimmy laughs a bit, smiles. ROSE Why does n't Claudia talk to you, Jimmy? JIMMY Why, well I think we've, we both do n't know. what do you mean? ROSE I think that you know. JIMMY Maybe. I do n't. BEAT. HOLD.", "EXT. VENTURA BLVD. - THAT MOMENT CAMERA tracks with an AMBULANCE rushing down the street.", "INT. LAMPLIGHTER - THAT MOMENT Through the window, the AMBULANCE passes in the b.g., heading nearby. and OC we hear the siren throughout scene. Stanley looks up at Worm, who's crying harder now, they make another moment of eye contact. BEAT, THEN : WORM Hi. STANLEY Hi. WORM sorry. STANLEY It's ok. BEAT. STANLEY Are you alright? Worm looks up.", "EXT. EMPTY PARKING LOT - THAT MOMENT The AMBULANCE arrives at Linda's Mercedes and the PARAMEDICS hop out, open the doors, call direction and try to speak with her and revive, etc.. CAMERA is HAND HELD and moving frantically with them. PARAMEDICS -LRB- various. -RRB- Hello, hello, can you hear us, huh? Stay with us, can you hear me. etc. etc.. ANGLE, ACROSS THE PARKING LOT. Dixon is hiding way across the way in the shadowed, hidden parked car, watching the paramedics. All the while he counts the money from Linda's wallet.", "INT. BILLINGSLEY'S BATHROOM - THAT MOMENT. CAMERA with Claudia, she snorts some coke off her hand in the stall. She takes a quick look in the mirror, walks out -", "INT. BILLINGSLEY'S - THAT MOMENT CAMERA tracks with Claudia as she walks back to the table. she comes up from behind Jim Kurring and leans in quick. KISSES HIM ON THE CHEEK and then quickly sits down across from him. CLAUDIA I wanted to do that. Jim Kurring smiles, shaken a bit. JIM KURRING Well. CLAUDIA That felt good to do. to do what I wanted to do. JIM KURRING Yeah. CLAUDIA Can I tell you something? JIM KURRING Yeah, of course. CLAUDIA I'm really nervous that you're gon na hate me soon. That you're gon na find stuff out about me and you're gon na hate me - JIM KURRING - no, like what, what do you mean? CLAUDIA You're a police officer. You have so much, so many good things and you seem so together. so all straight and put together without problems. JIM KURRING I lost my gun. CLAUDIA What? JIM KURRING I lost my gun after I left you today and I'm the laughing stock of a lot of people. I wanted to tell you that. I wanted you to know. and it's on my mind and it makes me look like a fool and I feel like a fool and you asked that we should say things, that we should say what we're thinknig and not lie about things and I'll tell you that, this : that I lost my gun and I'm not a good cop. and I'm looked down at. and I know that. and I'm scared that once you find that out you might not like me. CLAUDIA Oh my god, Jim. Jim, that was so - JIM KURRING I'm sorry - CLAUDIA That was so great what you just said. JIM KURRING I have n't been on a date since I was married and that was three years ago. and Claudia. whatever you wan na tell me, whatever you think might scare me, wo n't. and I will listen. I will be a good listener to you if that's what you want. and you know, you know. I wo n't judge you. I can do that sometimes, I know, but I wo n't. I can. listen to you and you should n't be scared of scaring me off or anything that you might think I'll think or on and on and just say it and I'll listen to you. CLAUDIA You do n't how fuckin' stupid I am. JIM KURRING It's ok. CLAUDIA You do n't know how crazy I am. JIM KURRING It's ok. CLAUDIA I've got troubles. JIM KURRING I'll take everything at face value. I'll be a good listener to you. CLAUDIA Ohhhh I started this, did n't I, did n't I, did n't I, fuck. JIM KURRING Say what you want and you'll see - CLAUDIA Wan na kiss me, Jim? JIM KURRING Yes I do. They lean across the table and kiss each other. CAMERA DOLLIES IN SUPER QUICK as their lips touch.", "INT. SOLOMON AND SOLOMON ELCTRONICS - THAT MOMENT Donnie finishes taking the money from the safe. Donnie walks back one of the corridors and heads through a door. -LRB- again using the key and code -RRB-. Donnie enters into the warehouse area and heads for the door to outside. He puts the key into the lock and opens the door. but he takes a small stumble back and the key chain that's attached to his belt gets stuck, causing him to fall back, down and to the ground. with the KEY SNAPPING OFF IN THE LOCK. the door is about to shut on him but he stops it with his foot. he gets up, grabs the money. leaves with the broken key still left in the lock.", "EXT. SOLOMON AND SOLOMON PARKING LOT - THAT MOMENT Donnie gets in the Buick Regal and drives away.", "EXT. EMPTY PARKING LOT/LINDA'S MERCEDES - THAT MOMENT CAMERA -LRB- HAND HELD -RRB- is in the middle of the PARAMEDICS dealing with Linda. they find the pill bottle. they put her on a gurney. they search for ID, come up only with the registration for the car and some papers in the glove box. they get her into the ambulance.", "INT. LAMPLIGHTER - THAT MOMENT Stanley finishes his cookie. Worm, sitting across from him starts to cry a little, very quietly. He hides it best he can. Stanley looks up here and there from his books. They make another moment of eye contact then : WORM Hi. STANLEY Hi. WORM sorry. STANLEY It's ok. BEAT. STANLEY Are you alright? Worm looks up.", "INT. JIMMY'S HOUSE - THAT MOMENT Jimmy and Rose. HOLD. THEN : ROSE say it, Jimmy. JIMMY Do you know the answer to this? ROSE I'm asking you. I'm asking you if you know why Clauida will not speak to you. please, Jimmy. tell me. JIMMY I think that she thinks I may have molested her. Rose does n't flinch. JIMMY She thinks terrible things that somehow got in her head. that I might have done something. She said that to me last time. when it was. ten years ago she walked out the door, `` You touched me wrong.'' `` I know that.'' Some crazy thought in her, in her head. ROSE Did you ever touch her? JIMMY No. HOLD. BEAT. Rose asks again. ROSE Jimmy, did you touch her? JIMMY I do n't know. Rose starts to cry a bit. So does Jimmy. ROSE Jimmy. JIMMY I really do n't know. ROSE But you ca n't say. JIMMY I do n't know what I've done. ROSE Yes you do. you do and you wo n't say. JIMMY I do n't know. She stands up and walks to a small table and gets her car keys and her jacket. JIMMY What? no. no, please. She stands above him. ROSE You deserve to die alone for what you've done. JIMMY I do n't know what I've done. ROSE Yes you do. JIMMY Stay here, please do n't leave me, please, please, if I said I knew would you stay? ROSE No. JIMMY I do n't know what I've done. ROSE You should know better. She leaves.", "INT. BILLINGSLEY'S - THAT MOMENT CAMERA CU on Claudia as she pulls back from the kiss. HOLD. She starts to cry. through her tears, then : CLAUDIA now that I've met you. Would you object to never seeing me again? CU. JIM JIM KURRING What? CLAUDIA Just say no. JIM KURRING I wo n't say, no, wait, Claudia - ECU - The two of them. Tight, tight 2 - shot. She gets up and walks out, he follows - grabs her arm and she whispers, forcefully : CLAUDIA Let me go, leave me, let me go, it's ok, please. JIM KURRING please, what is it, please - CLAUDIA just let me walk out, ok? She leaves in tears. He watches her walk.", "EXT. VENTURA BLVD. - THAT MOMENT CAMERA is travelling with the PARAMEDICS who are driving real fast. They approach a RED LIGHT at an intersection. they breeze through it, but the CAMERA PANS and moves over to Donnie's BUICK REGAL that's stopped at the intersection. CAMERA moves into a CU of him behind the wheel. He's paniced. HOLD. DONNIE What am I doing? What am I doing? What the fuck am I doing? Donnie looks at the large bag of money in the passenger's seat next to him. he panics same more. DONNIE WHAT THE FUCK AM I DOING? WIDE ANGLE, THAT MOMENT Donnie's Buick Regal makes a u - turn and heads back the direction it came -", "INT. EARL'S HOUSE - THAT MOMENT Frank and Earl. Earl opens his eyes a bit. FRANK Dad. dad it's me. it's Frank. It's Jack. It's Jack. Dad. Earl can barely make it but he touches Frank. Frank holds his Dad's hand. Phil steps up closer. FRANK I'm here. I'm here now. What do you want? Do you want anything? PHIL I do n't think, he ca n't. FRANK just wait. Dad. you want something. can you say. EARL fuck. fuck. fuck. Earl is in PAIN and his hallucination make him a bit angry. EARL thismssm. FRANK Oh, Dad. It's ok. jesus. ok. it's ok. I'm here with you now, please. i'm sorry. it's ok. alright. ok.", "EXT. VENTURA BLVD - THAT MOMENT CAMERA with the Buick Regal. It moves past CAMERA, which PANS and DOLLIES over to - THE LAMPLIGHTER COFFEE SHOP. Looking inside, through the window to see Stanley and Worm, sitting talking. CAMERA GOES INSIDE THE LAMPLIGHTER COFFEE SHOP.", "INT. LAMPLIGHTER - THAT MOMENT Worm is in tears, talking to Stanley. SLOW ZOOM IN. WORM you have it. easy. you know? You have a father who loves you, huh? STANLEY Yes. WORM You know what it's like to come home scared, scared that maybe if you do n't have the money you're supposed to go out each day and get that you're gon na get beaten. by a belt. he hits me with a belt, Stanley. -LRB- beat. -RRB- I'm supposed to sell those candy bars, and if I do n't, I come home without the money. STANLEY Why does he do it? WORM Cause he hates me. he hates me so much. STANLEY It's not right. WORM I hate it. CU - Worm. He hesitates. looks at Stanley and says : WORM I'm sorry to put all this on you, Stanley - STANLEY I have money. WORM what? STANLEY I have money to give you. WORM No. No. I have to do this on my own. STANLEY I can take you to get money. I do n't need it. I do n't need it - listen to me : I can let you have money so your father wo n't hit you ever again - you'll have the money because I do n't need it. CAMERA pushes in a little on Worm, he looks up. 30fps. WORM Where do you have it? CAMERA holds 2 - shot, looking out the window onto the street. We PUSH PAST THEM AND THROUGH THE WINDOW, picking up with a YELLOW CAB as it drives by, PAN with it.", "EXT. VENTURA BLVD. - THAT MOMENT CAMERA travels with the CAB for a moment or two. CAMERA goes inside the CAB.", "INT. CAB - MOVING - THAT MOMENT CAMERA is in the back with CLAUDIA. She slouches down. She's still crying. she snorts some coke off her hand.", "EXT. VENTURA BLVD. - THAT MOMENT CAMERA moves with the CAB a bit. it makes a right hand turn and the CAMERA PANS and DOLLIES away, over towards a JAGUAR stopped at the intersection. it's making a left turn at the intersection, going the same way as the CAB did. we push in close and land to see ROSE behind the wheel. She's in tears. Light turns from RED to GREEN.", "INT. JIMMY'S HOUSE - THAT MOMENT Jimmy, without a real trace of coordination walks from the living room and into THE KITCHEN He moves to a drawer and removes a REVOLVER. His hand is shaking and his hand/eye coordination makes it very hard to grasp hold, but he finally does. he's shaking and tearing.", "EXT. BILLINGSLEY'S PARKING LOT - THAT MOMENT CAMERA tracks with Jim Kurring to his car. He gets behind the wheel.", "EXT. INTERSECTION - MOMENTS LATER CAMERA overhead as Jim Kurring's car drives past the Magnolia/Tujunga intersection.", "INT. JIM KURRING'S CAR - MOVING - THAT MOMENT CU - Jim Kurring driving. HOLD. He drives past Solomon and Solomon Electronics. JIM'S POV - THAT MOMENT - MOVING he sees the parked Buick Regal and Donnie -LRB- in shadow -RRB- get out and head for the back door. CU - Kurring. He registers what he saw.", "EXT. SOLOMON AND SOLOMON/LOADING DOCK AREA - THAT MOMENT CAMERA moves with Donnie over to the back door. he reaches down to his KEY CHAIN and sees : The BROKEN KEY. it's snapped off the key chain. one half remains. the other half is on the other side of the door in the lock. DONNIE Fuck.", "INT. JIM KURRING'S CAR - THAT MOMENT Sequence J Jim Kurring drives a few more feet. slows down. then starts to make a u - turn to go back to the store. JIM'S POV - MOVING - THROUGH THE WINDHSIELD. The car starts to turn 180 degrees. as soon as it is headed going back the opposite direction. CRACK. From the sky, out of the blue, a large GREEN FROG lands on Jim Kurring's windhsield. CU - Jim Kurring. Scared shitless. POV - Another GREEN FROG slams on the HOOD OF THE CAR. CU - Brake. Jim's foot SLAMS ON THE BRAKE.", "EXT. MAGNOLIA BLVD. - THAT MOMENT CAMERA holds a wide angle as Jim Kurring's CAR SLAMS AND SKIDS TO A STOP IN THE MIDDLE OF THE EMPTY STREET. CLOSER ANGLE, PUSH IN ON THE DRIVER'S SIDE WINDOW. Jim is scared and sweating. he looks up, out the driver's side window. JIM'S POV - LOOKING STRAIGHT UP. It's dark and empty sky. hold on him. he looks at the Frog that has landed on the windshield. it's dead and splattered. The SOUND of ANOTHER FROG FALLING FROM THE SKY AND SLAMMING ON THE ROOF OF THE CAR. Jim jumps. looks up again. from straight out of the sky comes ANOTHER FROG falling DIRECTLY INTO THE CAMERA. it SPLATS. then another and another and another. WIDE ANGLE. THE STREET. It starts to RAIN FROGS in the middle of Magnolia Blvd..", "INT. CLAUDIA'S APARTMENT CU - Claudia snorts a line of coke off her coffee table. She comes up and INTO FRAME. Outside the window, behind her. a FROG FALLS straight past. She hears the sound and turns around. sees nothing. CU - Profile on Clauida. through the other window. another FROG falls past, through the tree outside on it's way down. She turns her head again sees nothing. BEAT. Another FROG FALLS. she looks. she walks to the window. A dozen FROGS FALL IN VERY QUICK SUCCESION. She jumps back from the window. stumbles a bit. knocks over a lamp, which SMASHES to the floor. her apartment goes DARK. except for street light. more FROGS FALL and we hear the sound and see them through the window in glimpses.", "EXT. CLAUDIA'S APARTMENT/STREET - THAT MOMENT The FROGS are falling sort of heavy now. Rose's JAGUAR comes through it. skids and SMASHES into a PARKED CAR. CAMERA DOLLIES over to her. she looks up at them. they FALL STRAIGHT INTO CAMERA AND ONTO THE HOOD, WINDSHIELD AND ROOF. Rose puts the Jaguar in reverse and tries to back away from the smashed parked car. the bumper's are stuck.", "INT. EARL'S HOUSE - THAT MOMENT The CAMERA holds on Earl and Frank. Frank has his head buried in Earl's bed holding his hand, crying. it's very quiet. CU - Phil. He's crying a bit standing off to the side. He looks out the window's and the glass doors and sees the FROGS come raining down. His mouth drops and he ca n't speak. Frank does n't notice. The FROGS fall in the backyard and into THE POOL. PHIL There are frogs falling from the sky.", "EXT. WHITSETT/NORTH HOLLYWOOD MED. CENTER - THAT MOMENT The PARAMEDICS are driving real fast down the street.", "INT. AMBULANCE - MOVING - THAT MOMENT Linda is on life support stuff in the ambulance. Looking past her, we see the view of the road through the windshield - the amubulance driver going real fast and just about to pull into the hospital emergency entrance. FROGS START PELTING THE WINDSHIELD. THE DRIVER SWERVES.", "EXT. STREET/AMBULANCE - THAT MOMENT A WIDE ANGLE where we see the FROGS falling onto the moving, swerving Ambulance. one FROG lands so hard on top of the red lights on the ambulance that it CRACKS. the FROGS in the middle of the road start to act as a lubricant on the already wet/damp street and the Ambulance starts to SKID SIDEWAYS. it FALLS ON IT'S SIDE.", "INT. AMBULANCE - POV As it falls on it's side and skids a bit. over the Frogs.", "EXT. EMERGENCY ROOM ENTRANCE - THAT MOMENT Ambulance skids right up to the emergency room entrance.", "INT. JIMMY'S HOUSE - KITCHEN - THAT MOMENT Jimmy with the Revolver to his head. he cocks it back.", "EXT. SKY/INT. HOUSE - THAT MOMENT CAMERA above Jimmy's house, looking straight down and MOVING towards a SKYLIGHT above the kitchen. a FROG enters FRAME, falling straight towards this skylight - Inside the house, Jimmy about to pull the trigger. SOUND DROPS OUT. The falling FROG comes STRAIGHT THROUGH THE SKYLIGHT, SMASHING THROUGH. falls straight down onto Jimmy's head. the GUN GOES OFF WILDLY. SMASHES the TELEVISION. Jimmy falls to the ground. GLASS FALLS from the broken skylight. more FROGS continue to fall through it and into the kitchen and around Jimmy. the BULLET into TELEVISION has sparked something and the SOCKET it's plugged into CATCHES FIRE. CU - INSIDE THE WALL, NEAR THE SOCKET. Camera moves in and sees some SPARK and FLASH and FIRE started.", "EXT. SOLOMON AND SOLOMON ELECTRONICS - THAT MOMENT Donnie starts to climb up a ladder attached to the side of the building. near the loading dock area.", "EXT. STREET NEARBY - THAT MOMENT Jim Kurring is in the middle of the Frog Rain. he puts his car into gear and drives down the street. about twenty yards later and he's out of it. he pulls into the parking lot behind Solomon and Solomon. it's not raining frogs here. Kurring's HEADLIGHTS catch a glimpse of Donnie starting to climb. Donnie gets scared and FREEZES. Kurring is oblivious to Donnie for the moment. He looks in his REARVIEW MIRROR and sees the FROGS FALLING. Donnie looks past Kurring and now sees the FROGS FALLING in a 50 x 50 area in the street. Donnie looks up. FROGS ARE FALLING STAIGHT AT HIM/CAMERA AND THEY KNOCK HIM DOWN AND TO THE CEMENT. he falls flat on his FACE. Jim Kurring turns his head and sees Donnie, fallen flat face and bloody on the pavement. he gets out of his car and runs over to Donnie, through the Frogs that rain down, and picks him/drags him out of harm and under shelter in the LOADING DOCK AREA.", "INT. CLAUDIA'S APARTMENT - THAT MOMENT CAMERA -LRB- STEADICAM -RRB- follows ROSE as she runs up the stairs to Claudia's place and frantically BANGS ON THE DOOR. Inside the apartment, Claudia JUMPS and SCREAMS at the sound. ROSE HONEY, HONEY, CLAUDIA. IT'S ME. IT'S MOM. MOM. OPEN THE DOOR. OPEN YOUR DOOR HONEY. Claudia jumps up and goes to her door in the darkness and opens it up - Rose comes in quick, scared shitless. they fall down and hold onto each other, sweatin/crying/shaking.", "INT. EARL'S HOUSE - THAT MOMENT Frank lifts his head and watches the FROGS FALL outside the house. Earl looks to Frank. he musters something. Frank notices. All SOUND DROPS OUT except for the breathing of Frank and Earl. EARL You are not what you think you are. Frank breaks down.", "INT. LAMPLIGHTER - THAT MOMENT Stanley and Worm. CAMERA holds as all around. through the glass windows. it RAINS FROGS. smashing to the ground. hitting a couple odd parked cars. they sit, watching, stunned. in a sort of daze. Stanley seems almost happy. Worm shocked, scarred. WORM What is that? STANLEY It's frogs. It's raining frogs. WORM fuck you mean, it's raining frogs? STANLEY It's raining frogs from the sky. WORM what the fuck, what the fuck. STANLEY This happens. this is something that happens. WORM What the fuck is goin' on, WHAT THE FUCK IS GOING ON? CU - STANLEY. HOLD ON HIS FACE extremely tight. In the reflection of his eye, we see the Frogs falling. past the neon sign that reads `` Fresh Coffee.'' ANGLE, DIXON. He comes running into the Lamplighter and over to Worm and Stanley. he's scarred shitless and frantic - DIXON DADDY! DAD! DAD WHAT THE HELL IS GOIN' ON? WORM Stay quiet. stay quiet, son - DIXON LET'S GO, LET'S GO, LET'S GET HIS MONEY AND GO - DID YOU GET HIS MONEY? DID YOU GET IT? DID YOU GET HIS MONEY, DAD? WORM No, Son. be quiet. be quiet now. DIXON C'mon, Dad. We got ta just GET HIS MONEY AND GO, LET'S GO. Let's get the money - WORM We're not gon na do that now. We're not gon na do that now and that's over. DIXON BULLSHIT. BULLSHIT, DAD WE NEED TO GET HIS MONEY AND GO. Dixon takes out a large POLICE ISSUED REVOLVER, AIMS at STANLEY'S FACE. DIXON GIVE US YOUR MONEY MAN. WORM Son, do n't - DIXON BULLSHIT, BULLSHIT DAD WE GOT TA GET HIS MONEY - WORM - no. DIXON -LRB- to Stanley. -RRB- GIVE US YOUR MONEY. WORM Put the gun down, please, boy. DIXON GIVE US YOUR MONEY, KID. WORM Son, please, now. DIXON DAD - WORM Please, boy, put it down and it's ok. Dixon starts to get nervous and well with tears. he shakes a little. WORM It's ok - DIXON We got ta get his money so we can get outta here - we got ta - WORM That idea is over now. We're not gon na do that now. Dixon starts crying and shaking and backing away - DIXON DADDY, FUCK, DADDY, DO N'T GET MAD AT ME. DO N'T GET MAD AT ME -. -LRB- to Stanley. -RRB- JUST GIM ME YOUR MONEY. WORM I'm not mad, son, I will not be mad at you and it's ok and please put it down and I wo n't be mad and I wo n't - DIXON DAD. Dixon starts to lower the gun a bit, crying and shaking. He lowers the gun and hands it over to his Father. Dixon is sort of flinching. the possibility that his Father may strike him. Stanley is frozen. Dixon is hyperventilating. DIXON I - just - thought - that - I - did n't want - I - did n't - I - did n't - WORM It's ok, boy. HOLD. Que. `` Bein Green,'' by Kermit the Frog/Aimee", "EXT. LAMPLIGHTER/VENTURA BLVD. - THAT MOMENT Sequence K CAMERA holds a wide angle on the Lamplighter Coffee Shop. Frogs falling from sky onto and around the streets.", "EXT. THE SKY - THAT MOMENT CAMERA up with the Falling Frogs. CAMERA is moving down with them. it becomes almost musical. like Busby - Berkely - style coreography of Frogs That Fall In The Sky. MUSIC/KERMIT THE FROG `` It's not that easy bein' green. Having to spend each day the color of the leaves.''", "INT. JIMMY'S HOUSE - THAT MOMENT It is on FIRE now. CU image of Jimmy on the floor of the kitchen with shards of glass around him. and FROGS. a few of them still alive and jumping around. the FIRE moving closer and closer.", "EXT. SOLOMON AND SOLOMON/LOADING DOCK AREA - THAT MOMENT Jim Kurring and Donnie underneath the shelter area. Donnie's MOUTH IS FULL OF BLOOD and his TEETH ARE BROKEN. DONNIE My teeff. my teeef. JIM KURRING YOU'RE OK. you're gon na be ok.", "INT. CLAUDIA'S APARTMENT - THAT MOMENT Claudia cries to her Mom. Rose holds her and they rock back and forth. Claudia cries loud and over and over - `` Mommy. mommy. mom.'' Rose calming her and petting her head, `` It's ok.''", "INT. EMERGENCY ROOM - THAT MOMENT CAMERA is with Linda and DOCTORS as they PUMP HER STOMACH. Follow the process and get to point where it's clear that she is going to make it, she will not die.", "INT. EARL'S HOUSE - THAT MOMENT CAMERA w/Frank and Earl and Phil. Earl's last couple of breaths are short and quick. short and quick. short and quick. and then he dies. his eyes are open.", "EXT. SKY - THAT MOMENT CAMERA moves down straight towards the ground. towards the Magnolia intersection with a LARGE FROG. right before it hits the pavement - CUT TO BLACK. Title Card Reads : So Now Then - Replay Lumiere Footage from the opening of `` Three Men Hung'' Green, Berry and Hill. - Replay Delmer Darion in the tree and getting lifted out of the water. - Replay Sydney Barringer jumping from building NARRATOR And there is the account of the hanging of three men. and a scuba diver and a suicide.", "INT. EARL'S HOUSE - DAWN The door is opened by Phil and two MORTUARY MEN in suits nod their heads. Phil lets them in. NARRATOR There are stories of coincidence and chance and intersections and strange things told and which is which and who only knows.", "INT. EARL'S HOUSE - LIVING ROOM - THAT MOMENT Frank and Phil watch Earl get covered in a sheet and put on a stretcher. CAMERA moves around and finds the MORPHINE DOG placed on a stretcher, covered in a sheet. HOLD CU on PHIL and then Frank. NARRATOR and we generally say, `` Well if that was in movie I would n't believe it.'' ANGLE, IN THE KITCHEN, MOMENTS LATER Phil enters and answers the phone,''. hello. oh no. yes, yes.'' Phil looks to Frank -", "INT. HOSPITAL - DAWN CAMERA looking down the long emergency room corridor as the doors open and Frank enters and moves to the reception desk, asks some information - CAMERA pans off him, and over to a room, looking through the door jam onto Linda in bed. Her eyes a bit open, respiratory equipment attached to her. A DOCTOR standing over her, calmly asking questions. DOCTOR Are you with us? Linda? Is it Linda? She nods her head. Doctor continues talk, etc.. Frank, from behind enters FRAME and stands off nearby. MATCH TO DIXON'S FACE NARRATOR Someone's so and so meet someone else's so and so and so on -", "EXT. EMPTY PARKING LOT AREA - DAWN CU - Dixon as he gets into the old beat up car with Worm. Their call pulls away and drives off. Dixon looks at Linda's Mercedes which is still parked way across the lot - they exit FRAME.", "EXT. MAGNOLIA - DAWN Worm's car drives down the street. LONG LENS. ANGLE, at the car, Dixon leans up and out the window a bit. he's got the gun wrapped in newspaper, taking the fingerprints from the gun. he throws the POLICE ISSUED WEAPON from the speeding car.", "INT. LAMPLIGHTER - DAWN Stanley sits in the back of a squad car. an OFFICER watching him. probably supposed to be comforting him, but instead drinking coffee, chating with other OFFICERS questioning the coffee shop employees - NARRATOR And it is in the humble opinion of this narrator that these strange things happen all the time. Stanley gets out of the car and walks away, out of sight of all the officer's and people around. he just walks down the street.", "INT. SPECTOR HOUSE - RICK'S BEDROOM - DAWN Stanley enters Rick's bedroom. Rick is asleep. STANLEY Dad. Dad. Rick opens his eyes, but does n't move. STANLEY You have to be nicer to me, Dad. RICK Go to bed. STANLEY I think that you have to be nicer to me. RICK Go to bed. Stanley exits.", "EXT. JIMMY'S HOUSE - DAWN CAMERA with Fire Trucks and County Coroner people. A body bag and a stretcher carrying JIMMY'S BODY come out of the house. NARRATOR and so it goes and so it goes and the book says, `` We may be through with the past, but the past is not through with us.''", "INT. POLICE STATION - MARCIE Marcie looking down at the table in front of her, tape recorder and microphone in front of her, -LRB- and all that goes along w/full confession/etc. -RRB- MARCIE I killed him. I killed my husband. He hit my son and he hit my grandson and I hit him. I hit him with the ashtray and he was knocked out and I killed him, I strangled him. I strangled my husband to protect my boys. I protected my boys.", "EXT. SOLOMON AND SOLOMON - DAWN Jim Kurring and Donnie sitting together at the loading dock. Donnie, mouth full of blood, holding a kleenex to it, crying a bit. Kurring listens. HOLD. DONNIE I know that I did a thtupid thing. Tho - thtupid. getting brathes. I thought. I thought that he would love me. getting brathes, for what. for thumthing I did n't even. i do n't know where to put things, y' know? Kurring holds his look, nods. Donnie really breaks tears, looks up. DONNIE I really do hath love to give, I juth do n't know where to put it - CAMERA holds the 2 - shot on them, BEAT, THEN : The Police Issued Revolver FALLS FROM THE SKY AND LANDS ABOUT fifteen feet in front of them. Jim Kurring and Donnie look. HOLD. CU - Jim Kurring.", "INT. SOLOMON AND SOLOMON ELECTRONICS - THAT MOMENT Donnie and Jim Kurring walking inside the store, towards the office - JIM KURRING these security systems can be a real joke. I mean, a frog falls from the sky and lands on the x - 4 box ` round back and opens all the doors? Triggers a siutation? You do n't know who could be driving by at any moment, walk in and rob the place - I was you I'd talk to your boss about a new security system - DONNIE ohh - thur - I - thur - thill. JIM KURRING You guys make alotta money, huh?", "INT. SOLOMON AND SOLOMON - OFFICE - MOMENT LATER Donnie puts the money back in the floor safe. CU. DONNIE. JIM KURRING -LRB- OC. -RRB- I got a buddy a mine down at the med. center, he'd probably do quite a deal on a set of dentures, you're interested in that. He's in training, you know he's not a dentist yet, but he's real good at corrective oral surgery from what I understand. LAND ECU. DONNIE. He smiles a little bit.", "EXT. SOLOMON AND SOLOMON - THAT MOMENT Wide Angle, Donnie and Jim Kurring shake hands and part ways, getting into their cars. A few words more about, `` Call me up for that guys number and he'll help you out with the teeth.'' Donnie gets in his car. CAMERA stays with Jim Kurring who walks over to his car and gets behind the wheel. CAMERA HOLDS ON HIM. He does a little `` Cops'' talking to himself. JIM KURRING alot of people think this is just a job that you go to. take a lunch hour, the jobs over, something like that. But. it's a 24 hour deal. no two ways about it. and what most people do n't see : Just How Hard It Is To Do The Right Thing. -LRB- beat. -RRB- People think if I make a judgment call that it's a judgment on them. but that's not what I do and that's not what should be done. I have to take everything and play it as it lays. Sometimes people need a little help. Sometimes people need to be forgiven and sometimes they need to go to jail. And that's a very tricky thing on my part. making that call. the law is the law and heck if I'm gon na break it. but you can forgive someone? Well, that's the tough part. What Do We Forgive? Tough part of the job. tough part of walking down the street. CAMERA stays with him and HOLDS as he puts the car into gear and drives away. HOLD with him as he drives. he starts to cry a little bit to himself.", "INT. CLAUDIA'S APARTMENT - THAT MOMENT CAMERA holds on Claudia. She's sitting up in bed, covers around her, staring into space. a SONG plays. for a very, very long time she does n't move until she looks up and sees someone enter her bedroom. a FIGURE from the back enters FRAME and walks in and sits on the edge of the bed. from the back it is clear that it's Jim Kurring. She tears a bit and looks at him. HOLD. She turns her eyes from him and looks INTO THE CAMERA and smiles. CUT TO BLACK. END." ]

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[ "M A large white M on a dark, shadowy screen. MUSIC -LRB- `` In the Hall of the Mountain King'' -RRB- and TITLES BEGIN. As the TITLES END, a child's voice is heard CHANTING. FADE OUT", "EXT. COURTYARD - CITY BLOCK - BERLIN, GERMANY - 1930 A.D. - DAY FADE IN on a HIGH ANGLE - A group of children, standing in a circle, play a game. In the center of the circle, a LITTLE GIRL points her finger from one child to another in rhythm with the chant. LITTLE GIRL -LRB- chants. -RRB- Just you wait a little while, The evil man in black will come. And with his little chopper, He will chop you up. The LITTLE GIRL stops in front of one of her playmates and gestures for her to leave the circle. LITTLE GIRL You're out. The child leaves the circle and the game continues. LITTLE GIRL -LRB- chants. -RRB- Just you wait a little while, The evil man in black will come. And with his little chopper, He will chop you up. During the chant, we PAN OFF, past two coal - bunkers -LRB- revealing that we are in the courtyard of a block of flats -RRB-, and CLIMB the face of the tenement block to show an outdoor balcony with washing hanging out to dry. A PREGNANT WOMAN appears, carrying a basket of laundry ; she pauses when she hears the chanting, then leans over the balcony and shouts down to the children. PREGNANT WOMAN Will you stop singing that awful song?! But the chanting continues - PREGNANT WOMAN Ca n't you hear? The chanting stops. PREGNANT WOMAN -LRB- mutters to herself. -RRB- Always that awful song. She walks off, carrying her basket. After a moment, the chant continues. LITTLE GIRL -LRB- chants, o.s. -RRB- Just you wait a little while, The evil man in black will come. And with his little chopper. We hold on the empty balcony for a long moment and then", "INT. TENEMENT BLOCK - DAY The FRONT DOOR of one of the flats. The PREGNANT WOMAN with her basket of laundry RINGS the bell. The door opens and a tired, haggard, middle - aged woman appears. It is MRS. BECKMANN. Behind her, we see a KITCHEN. The PREGNANT WOMAN hands the basket to MRS. BECKMANN and wearily wipes her brow. PREGNANT WOMAN -LRB- sighing. -RRB- Oh, dear! MRS. BECKMANN What's the matter? PREGNANT WOMAN I'm always telling those kids to stop singing that terrible murderer's song. and they do nothing but sing it at the top of their voices all day. -LRB- pause. -RRB- As if we had n't heard enough of that killer. MRS. BECKMANN Oh, leave them alone. As long as they're singing, at least we know they're still there. PREGNANT WOMAN Yes, I suppose you're right. The pregnant woman shuts the door for MRS. BECKMANN, leaving her alone in her flat with the laundry. MRS. BECKMANN puts the basket in a corner of her poor but clean kitchen, then bends over a bowl of water and continues with her washing. A cuckoo - clock STRIKES. MRS. BECKMANN looks up at the clock, which shows midday. The RINGING of a church bell mingles with the cuckoos. MRS. BECKMANN smiles, straightens up, and wipes her hands.", "EXT. CITY STREET - DAY A group of parents waits on the pavement outside the main entrance to the local school. Cars pass. The bell stops ringing as the children come out ; one little girl waves and goes off in a direction different from her friends. It is ELSIE BECKMANN ; she wears a satchel on her back and carries a string bag with a ball in it. When she comes to cross the road she steps off the curb without looking, a car HONKS at her and she hurriedly steps back onto the curb. A policeman stops the traffic and escorts her across.", "INT. MRS. BECKMANN'S KITCHEN - DAY MRS. BECKMANN sets the table for Elsie's lunch.", "EXT. ANOTHER CITY STREET - DAY ELSIE walks along the pavement of a busy sidewalk, bouncing her ball. She stops by a circular pillar of the sort used as a billboard and starts throwing her ball against it. We FOLLOW the ball and MOVE IN to show one of the posters : 10,000 Marks Reward. WHO IS THE MURDERER? Since Monday, 11th June this year, the following have disappeared : the school - children Klaus Klawitsky and his sister Klara, who live at 470 Mueller Street. Various evidence leads us to believe that the children were victims of a similar crime to that committed last autumn against the Doering sisters. As the ball continues to bounce against the poster, the shadow of a man in a hat falls across the pillar : it is the shadow of the MURDERER. MURDERER -LRB- o.s. -RRB- What a pretty ball. The shadow bends down. MURDERER -LRB- o.s. -RRB- What's your name? ELSIE -LRB- o.s. -RRB- Elsie Beckmann.", "INT. MRS. BECKMANN'S TENEMENT - DAY KITCHEN - MRS. BECKMANN peels potatoes and puts them into a tureen. The clock reads 12:20. MRS. BECKMANN puts the lid on the tureen. She hears footsteps, goes to the door, opens it and looks up the stairs. STAIRCASE - Two LITTLE GIRLS are going up. MRS. BECKMANN Elsie did n't come with you? 1ST LITTLE GIRL No. 2ND LITTLE GIRL -LRB- simultaneously. -RRB- No, she did n't come with us. MRS. BECKMANN watches from the doorway, as the GIRLS go on up the stairs ; then she leans over the bannisters and looks down into the empty staircase well. MRS. BECKMANN shakes her head and goes back into her flat.", "EXT. STREET CORNER - HIGH ANGLE - DAY A BEGGAR - with a card hung around his neck reading `` BLIND'' - stands on a corner selling balloons. A paper windmill is stuck in his battered hat. The MURDERER and ELSIE stand in front of him, examining the balloons. The MURDERER WHISTLES, loudly and and a little off - key, the first bars of `` In the Hall of the Mountain King'' from Grieg's ` Peer Gynt.' He buys a balloon in the shape of a huge doll and hands it to ELSIE who thanks him with a little curtsy. ELSIE Thank you very much. The MURDERER and ELSIE walk off as the BLIND BEGGAR pockets his money.", "INT. MRS. BECKMANN'S KITCHEN - DAY MRS. BECKMANN puts the tureen into a steaming saucepan. The doorbell RINGS. Visibly relieved, she rushes to open the door. On the doorstep stands the PAPERMAN. PAPERMAN Good morning. A thrilling new chapter, Mrs. Beckmann! -LRB- hands her the paper. -RRB- Passionate, moving, sensational. MRS. BECKMANN -LRB- very wearily. -RRB- Good - thank you. -LRB- pause. -RRB- Oh. just a moment, Mr. Gehrke. She takes the paper and moves away. We STAY ON the PAPERMAN. MRS. BECKMANN -LRB- o.s. -RRB- Tell me, Mr. Gehrke. PAPERMAN Yes? MRS. BECKMANN -LRB- o.s. -RRB- Have you seen Elsie? PAPERMAN Did n't she just come up the stairs? MRS. BECKMANN comes back to the door to pay the PAPERMAN. MRS. BECKMANN No, she's not back yet. PAPERMAN Well, she wo n't be long now. He touches the peak of his cap and turns to go. PAPERMAN Good - bye, Mrs. Beckmann. MRS. BECKMANN -LRB- not reassured. -RRB- Good - bye, Mr. Gehrke. She hesitates for a moment, then goes onto the landing and leans once again over the bannisters to peer down into THE EMPTY STAIRCASE WELL. MRS. BECKMANN -LRB- o.s., her voice echoing. -RRB- Elsie! Elsie! MRS. BECKMANN, looking worried, goes back to her flat, and closes the door. THE CUCKOO - CLOCK - It's now 1:15. The cuckoo strikes once. WIDE ANGLE - MRS. BECKMANN'S KITCHEN MRS. BECKMANN is alone. She opens the window and leans out, calling anxiously. MRS. BECKMANN Elsie! Elsie! THE EMPTY STAIRCASE WELL MRS. BECKMANN -LRB- o.s. -RRB- Elsie! THE ATTIC LOFT OF THE BLOCK OF FLATS Empty except for some washing hanging in the shadows. MRS. BECKMANN -LRB- o.s. -RRB- Elsie! THE KITCHEN TABLE Elsie's empty chair, her clean plate, her spoon, and her folded napkin. MRS. BECKMANN -LRB- o.s. -RRB- Elsie! Elsie! FAR AWAY - A PATCH OF SCRUBBY GROUND From out of the undergrowth rolls ELSIE'S ball. It rolls to a stop. THE BIG, DOLL - SHAPED BALLOON It floats up into the air and catches momentarily in some telegraph wires, until the wind shakes it free and carries it away. FADE OUT", "EXT. CITY STREET - EARLY EVENING FADE IN on A HIGH ANGLE of a sidewalk. A CAR sits parked at the curb. A PAPERSELLER rushes by, waving the latest edition. PAPERSELLER Extra! Extra! Extra! A passer - by stops him and buys a paper. ANOTHER HIGH ANGLE of ANOTHER STREET where ANOTHER PAPERSELLER can be seen, surrounded by a crowd that urgently wants to buy his papers. PAPERSELLER Extra! Extra! New crime! Who is the murderer? Who? Who is the murderer?", "INT. THE MURDERER'S ROOM - NIGHT The MURDERER sits at the windowsill, his back to us, writing. He holds a cigarette in his left hand and still whistles the tune from ` Peer Gynt.' INSERT - THE MURDERER'S LETTER The handwriting is a childish scrawl. ` Since the police have n't published my first letter, I am writing today straight to the NEWSPAPERS. Keep up your investigations. Everything will happen just as I have predicted. But I have n't yet FINISHED.'", "EXT. CITY STREET - NIGHT A POLICE POSTER - Affixed to a brick wall. In large letters, we can read. 10,000 Marks Reward. WHO IS THE MURDERER? The lettering of the rest of the poster is too small. We slowly PULL BACK over the heads of a crowd gathered around the poster. General hubbub. VOICES OF CROWD Good God, here we go again. It's terrible! 10,000 Marks. The lettering is too small, we ca n't read it all! Hey, read it out loud, you, there in front. Yes, read it. out loud. -LRB- reading. -RRB- ` The unknown murderer'. Let him read. Oh, hey! Quiet! Shut up! -LRB- reading. -RRB- ` The terror in our town has found a new'. Oh, that's enough. Stop it! -LRB- reading. -RRB- ` victim'. Louder, we ca n't hear a thing. The sound of the crowd CROSSFADES to the voice of a RADIO ANNOUNCER. RADIO ANNOUNCER Certain evidence leads us to believe that the murderer is the same as the one who has already killed eight children in our city. We must once more draw your attention to the fact. HIGH ANGLE - CAFe TABLE A group of middle - class men sit around it, smoking and drinking. One of them, an OLD MAN, reads aloud from a newspaper. His voice takes over from the RADIO ANNOUNCER. In the middle of the table, stands a little embroidered nag, the insignia of the club to which these gentlemen belong. OLD MAN -LRB- reading. -RRB-'. that the first duty of every mother, of every father, is to warn their children of the danger which always threatens them. Moreover, because the danger is often hidden under an attractive disguise, some sweets, a toy, fruit, can be the murderer's weapons. THE OTHER MEN Very true. Of course. The OLD MAN stops reading to take a gulp of beer. His neighbor, a fat civil servant in a stiff collar, impatiently stuffs a huge cigar into a cigar - holder. MAN WITH CIGAR-HOLDER Go on. -LRB- nervously. -RRB- Come on now. Read on. OLD MAN Right, right. -LRB- reading. -RRB-'. The anxiety of the general public is all the greater, because police enquiries.' As the OLD MAN continues to read, we see two of the other men at the table. A BALD MAN wearing pince - nez ; beside him, a FAT MAN twirls a glass of wine in his hand. OLD MAN -LRB- o.s. -RRB-'. have not yet finished. But the police find themselves faced by an almost impossible problem.' The BALD MAN nudges his neighbor and they whisper to one another. The BALD MAN points his cigar at the MAN WITH CIGAR - HOLDER opposite him. The OLD MAN continues to read. OLD MAN -LRB- o.s. -RRB- ` The guilty man has left no trace. Who is the murderer?' The MAN WITH CIGAR - HOLDER opposite listens attentively. On his cigar - holder, we see the design of a naked woman. OLD MAN ` What is he like? Where is he hiding? No one knows. And, yet, he is one of us. Your neighbor could be the murderer.' He lowers the paper. The BALD MAN and his companion stare with contempt at the MAN WITH CIGAR - HOLDER. On the table, the newspaper ` Tempo', with the headline :' 10,000 Marks reward'. The BALD MAN grabs his glass of beer. BALD MAN Yes, that's right. HIGH ANGLE of the whole group. MAN WITH CIGAR-HOLDER Why do you look at me, when you say that? BALD MAN You know very well. MAN WITH CIGAR-HOLDER What do I know very well? The BALD MAN, behind his glass of beer, leans forward and stares at his companion through his pince - nez. BALD MAN All right. think a bit. You'll find out. MAN WITH CIGAR-HOLDER What are you insinuating? BALD MAN That I saw you going up the stairs, behind the little girl from the fourth floor. MAN WITH CIGAR-HOLDER -LRB- jumps up, shouting angrily. -RRB- What?! You're crazy, you dirty swine! BALD MAN -LRB- also jumps up, shouting. -RRB- Who's a swine? Me? Me? Or the man who chases little girls? In the excitement, he loses his pince - nez. HIGH ANGLE of the whole group. MAN WITH CIGAR-HOLDER -LRB- mad with rage. -RRB- You slanderer! BALD MAN Murderer! As the MAN WITH CIGAR - HOLDER tries to punch his opponent, two FRIENDS and a waiter intervene. General confusion. OLD MAN But, gentlemen! Gentlemen! Gentlemen! They are separated. MAN WITH CIGAR-HOLDER I'll see you in court. BALD MAN I'll see YOU in court. WAITER -LRB- intervening. -RRB- Now then, gentlemen. calm down. ANOTHER CLIENT I did n't mean to. The HEAD WAITER, a CLIENT and the three FRIENDS go out. The SMALL MAN has been watching the row with fiendish glee. The BALD MAN continues to shout at his departing enemy. BALD MAN Slanderer. ruining my reputation.", "INT. BEDROOM - NIGHT In a comfortable bourgeois flat. The drawers of a chest have been pulled out and the contents scattered everywhere. Through the door we see a sitting - room. THE HUSBAND -LRB- o.s. -RRB- What a slanderer! What an awful man! A WOMAN appears at the doorway, in tears. THE HUSBAND -LRB- o.s. -RRB- And the police listened to him! They're searching my house! A POLICEMAN and THE HUSBAND come through the door into the sitting room. THE WOMAN -LRB- weeping. -RRB- How awful! Oh, what shame! THE HUSBAND Searching an honest man's flat, because of an anonymous letter. It's. it's. POLICEMAN -LRB- calmly. -RRB- Mr. Jaeger, calm down. We're only doing our duty. THE HUSBAND When we never have a minute's peace? Frightened about the children. POLICEMAN Look, it's for that very reason, that the police have to follow every lead. Any man in the street.", "EXT. THE STREET - NIGHT POLICEMAN -LRB- o.s. -RRB- could be the guilty man. In the street, a little OLD MAN of about sixty, wearing a bowler hat and spectacles with round, metal rims stops under a street lamp to read his paper. A LITTLE GIRL comes up to him, pushing a scooter. LITTLE GIRL Could you tell me what time it is, please? OLD MAN -LRB- very friendly. -RRB- Yes, my child. He takes out his watch. A few yards away, in front of a furniture shop, two shoppers, laden with parcels, look on. A WORKMAN with huge wide shoulders, wearing a cap, comes out of the shop. The LITTLE GIRL stands with the OLD MAN. In the background, the big WORKMAN approaches, menacingly, as the OLD MAN puts his watch away and bends down to the LITTLE GIRL. OLD MAN Now, my child, you must go home. Where do you live? As the LITTLE GIRL goes off on her scooter, the WORKMAN interrupts. WORKMAN What business is it of yours, where the kid lives? OLD MAN -LRB- looking up, terrified. -RRB- Excuse me? The OLD MAN looks up anxiously, through his pebbled - glasses, with great, round, scared eyes. The WORKMAN, enormous, rises on his toes. WORKMAN What did you want with the kid? OLD MAN -LRB- startled. -RRB- But. but. nothing at all! And you, what do you want with me! The WORKMAN seizes his arm. Some people stop and gather round. WORKMAN -LRB- seizing the OLD MAN. -RRB- Just you wait and see. OLD MAN -LRB- struggling. -RRB- Let go. Let me go. It's a. a. an impertinence! FIRST PASSER-BY -LRB- to the OLD MAN. -RRB- What's going on? OLD MAN -LRB- to PASSER - BY. -RRB- It's an outrage! SECOND PASSER-BY -LRB- to the WORKMAN, off the OLD MAN. -RRB- What does he want? WORKMAN -LRB- to OLD MAN. -RRB- Do n't get on your high horse. -LRB- to SECOND PASSER - BY. -RRB- First, he accosts children. ANOTHER BYSTANDER Punch his face in! WORKMAN -LRB- continues. -RRB- and then, he comes on all high and mighty. OLD MAN -LRB- struggling. -RRB- Let me go, ca n't you? I did n't start the conversation with the child. WORKMAN You wanted to get off with her, did n't you? FEMALE PASSER-BY -LRB- violently. -RRB- Yes. and then kill her like all the others. huh? Everyone joins in and starts shouting. CROWD It's the murderer! It's him! Hold onto him. Call the police. Of course, no cops when you need them. Oh, officer! Officer! Everyone hangs onto the OLD MAN. The crowd jostles and calls for a policeman. CROWD Officer! Officer!", "EXT. CITY STREET - STAIRS OF A PARKED DOUBLE DECKER BUS - NIGHT A crowd tries to board the bus. The CONDUCTOR comes down the stairs pushing people out of the way. CONDUCTOR Move along, please. move along now. stop blocking the way. Behind the CONDUCTOR, comes a POLICEMAN, leading a THIEF. THE THIEF -LRB- insultingly, to the policeman. -RRB- You're good at catching pickpockets, that's all you know how to do. You'd do better to go after the child murderer. The dense crowd presses against the bus. They've heard the thief mention the child murderer. VARIOUS VOICES What? The child murderer? The murderer. -LRB- off the THIEF. -RRB- That's him. the murderer! POLICEMAN Move along now. -LRB- to the thief. -RRB- Come on now. get a move on. Hysterical cries rise from the crowd. Fists are raised. The POLICEMAN and his prisoner have difficulty forcing their way through and become separated by the angry mob.", "INT. MINISTER'S OFFICE - DAY CLOSE - HEADLINES The daily paper, ` General Anzeiger' - the ` Tempo' section : ` THE MURDERER WRITES TO THE PAPERS.' Underneath, the MURDERER'S letter is reproduced : ` Since the police have n't published my first letter, I am writing today straight to the NEWSPAPERS. Keep up your investigations. Everything will happen just as I have predicted. But I have n't yet FINISHED.' A hand nervously holding a monocle spreads out the paper. WIDER ANGLE - MINISTER'S OFFICE The MINISTER sits at his desk, the newspaper spread out before him. He speaks into a white telephone, emphasizing his points with wooden gestures. MINISTER It's an unheard - of scandal. What a deplorable effect this will have on public opinion, Inspector. It is a serious error, very serious.", "INT. POLICE HEADQUARTERS - DAY In THE OFFICE OF THE CHIEF OF POLICE, the CHIEF OF POLICE, an elegant man, sits at his desk. In one hand, he waves a pen ; in the other, he holds the telephone. CHIEF OF POLICE But, Minister, we've no power to prevent the murderer from writing to anyone he wants to! The MINISTER'S reply is inaudible. A male SECRETARY passes some letters to the CHIEF OF POLICE and starts to leave. The CHIEF OF POLICE signs to him that he should read an entry in his engagement book. The SECRETARY does so and exits. CHIEF OF POLICE -LRB- into phone. -RRB- The guilty man is a mental case. He must get pleasure out of seeing his actions reported in the papers. We immediately got in touch with the editors to obtain the original letter. The laboratory is already busy on it. CLOSE - A SET OF FINGERPRINTS In the Police laboratory. The dossier of a certain Richard Ernst, known as ` Four - Fingered Ernst.' PAN ACROSS the dossier to show the prints of the left hand, next to the right. CHIEF OF POLICE -LRB- o.s. -RRB- Of course, it is almost impossible to find usable fingerprints on a postcard that has been through so many hands. CLOSE - HAND WITH MAGNIFYING GLASS Moving across a dossier. CHIEF OF POLICE -LRB- o.s. -RRB- But we must try everything. IN ANOTHER ROOM. of the police laboratory, a fingerprint is projected onto a large screen. Silhouetted against it, a police research assistant, using a magnifying glass, compares the projection with the dossier. CHIEF OF POLICE -LRB- o.s. -RRB- to find in our archives a clue or a trail that will lead us nearer a solution. OFFICE OF THE POLICE ARCHIVES An employee paces up and down dictating a report.", "INT. THE MURDERER'S ROOM - DAY The MURDERER looks at himself in the mirror and makes terrible faces, spreading his lips and lifting his eyebrows with his fingers.", "INT. THE MINISTER'S OFFICE - DAY THE MINISTER speaks into the phone. MINISTER Yes, yes, Inspector. certainly. I do n't doubt your keenness. the efforts of your men. But, all the same. the results. -LRB- annoyed. -RRB- We must have results. results. The sound of the MINISTER'S VOICE continues as we CUT TO the CHIEF OF POLICE'S OFFICE. During the following conversation the frustrated CHIEF'S VOICE continues as images illustrate his words.", "EXT./INT. SEARCH MONTAGE - DAY/NIGHT CHIEF OF POLICE Minister, my men are only getting twelve hours' sleep a week. POLICE STATION Several tired policemen slump on benches. As two come in off their beats another two start to get up to go. CHIEF OF POLICE -LRB- o.s. -RRB- as well as searches on the spot, Minister. VARIOUS ANGLES - SUBURBAN GARDENS Plainclothes men search everywhere. In the background are two photographers. A flash - gun goes off. Behind a hedge, one of the policemen finds a ball of paper. CHIEF OF POLICE -LRB- o.s. -RRB- We find, for instance, behind a hedge in a thicket a little tissue - paper bag. CLOSE - A PAIR OF TWEEZERS. carefully lifting the paper bag on which can be read the word SWEETS. CHIEF OF POLICE -LRB- o.s. -RRB- clearly it held cheap candy. In a corner we found tiny crumbs of acid drops and some grains of colored sugar. Within a radius of twelve kilometres, we have. CLOSE - MAP OF BERLIN The gardens where the bag was discovered are circled and dated 21 - 6. A compass draws a second larger circle dated 22 - 6 ; the same compass starts a third circle. CHIEF OF POLICE -LRB- o.s. -RRB- searched in all the sweet - shops, cake - shops, to find out where the bag came from. In vain. every day we widen the area of the search. SWEET - SHOP COUNTER A detective questions a salesgirl who shakes her head insistently and shrugs. CHIEF OF POLICE -LRB- o.s. -RRB- but, of course, no one remembers anything. or, at least not clearly enough. ICE CREAM KIOSK A detective questions a salesman, without success. CHIEF OF POLICE -LRB- o.s. -RRB- In spite of all these negative replies we are keeping up the search, stepping more and more into an area of uncertainty. GROCERY STORE A detective questions a grocer and his wife, without success. CHIEF OF POLICE -LRB- o.s. -RRB- without much hope of finding any solution. Our men. THE MINISTER'S OFFICE The MINISTER crashes his palm violently against his desk, his other hand holding the telephone. MINISTER -LRB- furious. -RRB- What good is that to me, Inspector? I know you're not sleeping. but those are the facts : an unknown murderer terrorizes the city. a city of four million people. And. and. the police, your police, are helpless. I want results! THE OFFICE OF THE CHIEF OF POLICE CHIEF OF POLICE -LRB- irritated. -RRB- Minister, you do n't really seem to appreciate the incredible difficulties which face us.", "INT. POLICE HEADQUARTERS - OFFICE - DAY A DETECTIVE questions two witnesses. One is large and fat ; he wears a little beard and pince - nez. The other witness is stunted. In the background is a typist, taking down the exchange. 1ST WITNESS -LRB- indignantly to 2ND WITNESS. -RRB- You do n't know anything. 2ND WITNESS -LRB- leaps from his chair. -RRB- More than you, sir. DETECTIVE But, gentlemen, gentlemen. Could you at least come to some agreement on what color bonnet the little girl was wearing, when you saw her this morning, talking to an unknown man? 1ST WITNESS But, of course, Inspector, the bonnet was red. 2ND WITNESS Inspector, the bonnet was green. 1ST WITNESS -LRB- rising. -RRB- It was a red bonnet. 2ND WITNESS It was a green bonnet. 1ST WITNESS -LRB- shouting. -RRB- Red! 2ND WITNESS -LRB- shouting. -RRB- Green! 1ST WITNESS -LRB- in an absolute fury. -RRB- Red! 2ND WITNESS -LRB- in as great a fury. -RRB- Green. The WITNESSES try to shout one another down. The DETECTIVE looks on amazed. INTERCUT extreme CLOSE - UPS of both WITNESSES. 1ST WITNESS Red. 2ND WITNESS Green. 1ST WITNESS Red. 2ND WITNESS Green. 1ST WITNESS Red. 2ND WITNESS Green. GROUP SHOT - The typist gets up. DETECTIVE Stop, stop! It's hopeless. Thank you, gentlemen. 1ST WITNESS Of course, Inspector, if you are prepared to listen to a socialist.", "INT. OFFICE OF THE CHIEF OF POLICE - DAY The CHIEF is still on the telephone. CHIEF OF POLICE The police have followed up, as of today, more than fifteen hundred clues in this case. The dossiers we have collected fill sixty thick volumes. We have put all our men onto it.", "INT./EXT. ANOTHER SEARCH MONTAGE - DAY/NIGHT Several policemen beating through the undergrowth of a WOOD. The voice of the CHIEF OF POLICE continues over the following scenes. CHIEF OF POLICE -LRB- o.s. -RRB- to systematically comb all the areas every thicket, every piece of undergrowth, every clearing is carefully examined, because behind each bush. Several policemen searching a wooded PIT. CHIEF OF POLICE -LRB- o.s. -RRB- in every hole, we might find something that would put us at last on the right track. A police dog as he picks up a scent and follows it to the edge of a LAKE, barking. A policeman follows him, holding him on a long leash. Other handlers and their dogs appear. CHIEF OF POLICE -LRB- o.s. -RRB- We have sent out police dogs. The best trackers have been put onto the weak scents we have found. without any result. Since this murderer's first crime. Detectives checking the papers of down - and - outs in a scruffy dormitory of a DOSSHOUSE, where rows of beds face one another and old clothing hangs from the walls. CHIEF OF POLICE -LRB- o.s. -RRB- the police have inspected all the dosshouses every night and checked the identity of every vagrant. Of course, these steps do n't increase the popularity of the police, nor do they calm the nerves of the general public. A smoky RAILWAY STATION. Detectives are checking everyone's papers. CHIEF OF POLICE -LRB- o.s. -RRB- nevertheless, we are keeping up our watch on all railway stations. But these checks are no more successful than our nightly raids. A deserted STREET at night lit by street lamps. A plainclothes detective is accosted by a whore, but he goes on his way. Further on, under a street lamp, another girl talks with a client. CHIEF OF POLICE -LRB- o.s. -RRB- of the various underworld hangouts. HIGH ANGLE - A dark STREET, still wet from recent rain. A couple disappear into a seedy HOTEL. A detective, beneath a street lamp opposite, looks on. VARIOUS SHOTS - The headlights of a car light up the walls. Two plainclothes detectives leap from the car while it is still moving. They abruptly walk the sidewalk nonchalantly as the car drives off. Their footsteps ECHO. Two cars full of men drive up and SQUEAL to a halt at the curb. A dozen or so policemen jump from cars and station themselves rapidly in various doorways. Three detectives wait in one doorway. One of them looks at his watch and gestures at the others. They move out of sight. On the dark, wet STREET, a detective walks to the middle of the street and gives a signal - a whistle BLOWS. Up the street, uniformed policemen, waiting by their parked vehicles, spring into action, rushing off. A group of plainclothes detectives march down the street, past the hotel, followed by uniformed men drawn up in two ranks. A few prostitutes exiting the hotel are rounded up and forced back inside. But it is not the hotel that the police have targeted. they march past it, down the street. HIGH ANGLE - looking down over the roofs at a line of uniformed policemen and a group of detectives as they march down the street.", "INT.'THE CROCODILE' - NIGHT Down the spiral staircase which leads from the street, a young PROSTITUTE rushes into a sordid basement bar. It is an underworld hangout known as ` The Crocodile'. A stuffed crocodile hangs from the ceiling. PROSTITUTE THE COPS! Without wasting a second, the clients, criminals and whores, rush for the exit, scrambling over the tables and chairs. The LANDLADY rapidly lowers a metal grille which shuts her off behind the bar. Everyone rushes for the stairs. HIGH ANGLE - looking down the empty staircase : general chaos and confusion. The young prostitute appears first, followed by a thief who gives a sudden start and, furious, turns back. Others pass him to be turned back in their turn. Police whistle. Car horns. A line of policemen, advancing steadily, pushes the fleeing crowd back down into the room. ON THE STREET - two plainclothes men lead away a prostitute.", "INT.'THE CROCODILE' - NIGHT POLICEMAN'S VOICE Police. Get back there. YOUNG PROSTITUTE'S VOICE -LRB- among other cries. -RRB- Let me go, you bastard! Let me go! Eh, Inspector, let me go! A policeman descends the stairs carrying the YOUNG PROSTITUTE in his arms. We TRACK with them till they stop at the bottom of the stairs, beneath the arch of the entrance. YOUNG PROSTITUTE Let me go, wo n't you! you beast, Let me go, let me go! THIEF Let the girl alone, dirty pig. The prostitute is released and exchanges words with the cop - punctuated by her spitting on him. General hubbub rising to a crescendo. POLICE Silence. silence! Over the heads of the crowd, a SERGEANT appears. SOMEONE IN THE CROWD Ah, the head cop. Laughter. With a gesture, the SERGEANT commands silence. SERGEANT Quiet. A VOICE That'd suit you, would n't it? On the stairs, in the dim light of the cellar, with the crowd of thieves and whores in the background, stands the dark silhouette of the SERGEANT. SERGEANT Police orders. Nobody leaves this place. Get your papers ready. Cries of protest and whistles from around the room. The SERGEANT stands in the entrance flanked on either side by police. An inspector comes down the stairs with one of his men. It is the heavyish INSPECTOR LOHMANN. He pauses, his face still in darkness. A VOICE Let's see you, let's see you! He moves forward and stops a few steps from the bottom. LOHMANN -LRB- cheerfully. -RRB- Come on now, children. Let's not do anything silly. A THIEF -LRB- raising his hat. -RRB- It's ` Fatty' Lohmann! A VOICE -LRB- chanting. -RRB- Loh - mann, Loh - mann, Loh - mann. ANOTHER VOICE Pop Lohmann! Several wave their hats. EVERYONE -LRB- in chorus. -RRB- Loh - mann! Loh - mann! Loh - mann! The chanting ends in whistles. INSPECTOR LOHMANN comes down to the last step and enters the light. A strong looking man, about forty, he gives the impression of shrewd efficiency. LOHMANN Quiet! A VOICE Get out! LOHMANN You'll wear yourself out. A WOMAN'S VOICE -LRB- hysterically. -RRB- It would be better if you caught the child murderer. ANOTHER WOMAN'S VOICE Yeah. much better! The CROWD whistles. LOHMANN Quiet! Quiet! Be reasonable! He steps forward. Several policeman follow him. LOHMANN Spread out. spread out all of you. All of you. spread out. Come on, come on now. Get your papers out. More detectives come down the stairs. A VOICE I have n't got any. LOHMANN -LRB- o.s. -RRB- Show me your papers. A GIRL -LRB- o.s., begging. -RRB- Let me go, please, Inspector. One of the criminals hides at the back of the CLOAKROOM. He tries to get out through a skylight, but suddenly starts back. Through the grille of the skylight which gives onto the street, he sees : a policeman stands outside. The thief resignedly turns away. In the ladies' TOILET, a policeman enters, hesitates, then pulls back a curtain. A thief, embarrassed, comes out of his hiding place. In the MAIN CELLAR, LOHMANN and two of his men are installed behind two tables. In front of him stands a young prostitute. Uniformed police form a corridor leading to the exit. In the background, the various occupants of the club stand about. LOHMANN Have you got any papers? THE GIRL But, Inspector, I ca n't go around everywhere with my date of my birth on me. That's asking too much. LOHMANN -LRB- indifferent. -RRB- Let's not beat around the bush, darling. Between LOHMANN and one of his assistants, THE GIRL stands beside an enormous THUG, with a black eye, wearing a cap, a fag - end in his mouth, hands in pockets. A row of police lines the wall. THE GIRL -LRB- indignantly. -RRB- That's really asking too much, Inspector. LOHMANN -LRB- severely. -RRB- Alex. Alex is short for Alexanderplatz, the headquarters of the Berlin police. In other words, she's going downtown. THE GIRL Look here, it's disgusting. She goes off to the right. Pushed by the others, the THUG steps forward. He takes out a wallet and, very sure of himself, hands his papers to LOHMANN. LOHMANN flicks through the papers. Skeptically, he examines their owner. A policeman searches the THUG. LOHMANN whistles the song : ` Where did you get your beautiful blue eyes?' and gives the THUG an understanding wink. Behind them stand a group of thieves, surrounded by police. The policeman finishes searching and goes out. The THUG puts his hands back in his pockets and looks at LOHMANN triumphantly. LOHMANN smiles and holds the papers up to the light. LOHMANN -LRB- commiserating. -RRB- Poor workmanship, my friend. The THUG, surprised, takes the cigarette butt out of his mouth. LOHMANN You've been had. A pause. LOHMANN signals to a policeman. LOHMANN Alex. Next. The THUG furiously throws his butt to the floor. A THIEF -LRB- insolently. -RRB- Better luck next time, Willi. THUG -LRB- moving off. -RRB- Oh. you. Shut your face. LOHMANN Next. A greasy Mediterranean type steps forward, very smooth. He wears a sumptuous fur - collared overcoat. Taking off his bowler, he tips his hat to LOHMANN obsequiously and presents his papers. ANOTHER THIEF -LRB- admiringly. -RRB- Fancy boy. Another whistles. LOHMANN looks at the papers and gives them back. FANCY BOY raises his hat again and prepares to leave. We TRACK with him. Suddenly LOHMANN, using the handle of his walking stick, snags FANCY BOY's arm and pulls him back to the table. FANCY BOY -LRB- astonished. -RRB- What's the matter? A THIEF Pop Lohmann has got him. SEVERAL VOICES He's got him. LOHMANN grabs a newspaper jutting out of the pocket of FANCY BOY'S fur coat, unfolds it, and looks it over : INSERT - the front page of the newspaper dated 21st November, 1930. An illustrated article, circled in pencil, reads : ` Unsolved burglary at a furrier's shop. LOHMANN puts down the paper. LOHMANN Well. I think I had better take you down to headquarters. FANCY BOY -LRB- horrified. -RRB- But, after all, my. my papers are in order. While he protests, his papers are taken from him. LOHMANN Next. Next in line is a LITTLE FAT MAN, cheerful and very friendly. LITTLE FAT MAN -LRB- off FANCY BOY. -RRB- No luck, huh? The LITTLE FAT MAN comes up to LOHMANN and clumsily takes off his hat. LOHMANN Next. -LRB- holds out his hand. -RRB- Papers. LITTLE FAT MAN -LRB- in a friendly tone. -RRB- I have n't got any. LOHMANN Alex. LITTLE FAT MAN -LRB- shrugs his shoulders. -RRB- No luck. LITTLE FAT MAN leaves. LOHMANN Next. come on, let's keep it going. Two policemen search a corner of the room. They look under the tables, tip up the chairs and go through the pockets of the coats in the cloakroom. One finds a revolver, then a leather briefcase. INSERT of the briefcase as it is opened : inside, a complete housebreaking kit. Things that have been confiscated are piled up, a jimmy, a saw, revolver bullets, etc.. A hand adds the empty briefcase to the pile. The LANDLADY stands behind her bar talking to a SERGEANT, who takes out a cigarette. LANDLADY This is ruining our business, Sergeant. Every night there's interference. No one can have ten minutes in peace anymore. Give us a chance! She goes to the back of the bar and pours herself a drink. The SERGEANT lights his cigarette at a gas lamp. SERGEANT It's no joke for us either, out every night. LANDLADY Of course. but you're drivin' away my clientele. And the guy you're looking for is n't here. -LRB- she drinks. -RRB- You ca n't imagine how mad everyone is about this guy who's causing a raid every night. Especially the girls. okay, they walk the streets. but, believe me, every one is a a little mother at heart. The SERGEANT tries to keep a straight face as he leans on the bar, surrounded by clouds of cigarette smoke. LANDLADY I know plenty of crooks who get kinda tender when they see kids playing. If they catch that bastard. -LRB- makes a short, sharp gesture. -RRB-. they'll wring his neck. Believe me. Another policeman comes up and salutes the SERGEANT. POLICEMAN Ready to go, Sergeant? The SERGEANT touches the peak of his cap and leaves with the policeman. SERGEANT -LRB- to the LANDLADY. -RRB- Good night. The LANDLADY watches them leave with a gesture of disgust.", "INT. THE UNDERWORLD MEETING ROOM - NIGHT A man in plus - fours stands by the window of a comfortably furnished middle - class room ; he looks at the street through binoculars. He is a PICK - POCKET. In the street, two police vans drive past, full of crooks. LOHMANN follows in an open car. The PICK - POCKET still looks through his binoculars. PICK-POCKET So, it's ` The Crocodile' tonight. -LRB- lowers the binoculars. -RRB- Two trucks full again. He turns around. On the sofa, smoking a cigarette, sits a tall, thin CON - MAN, dressed impeccably but a little pretentiously. He wears a dark jacket, a waistcoat and light trousers, and has a thin moustache. Lounging beside him, a BURGLAR, tough but not very bright, also smoking. The CON - MAN gets up impatiently. CON-MAN What's keeping Schraenker? A moustached SAFE - BREAKER sits at the table in the center of the room, doctoring playing cards. SAFE-BREAKER Is n't it three o'clock yet? PICK-POCKET I'll find out. He puts down the binoculars and walks from the window to the telephone in the middle of the room. He dials a number. PICK-POCKET Hello. The exact time, please, Miss. -LRB- sits at the table. -RRB- Two minutes to three. Thank you. He hangs up and, from various pockets, takes out a series of watches. He compares the time they show and places them on the table. The CON - MAN has sat down beside him and does card tricks. PICK-POCKET -LRB- setting one of the watches. -RRB- Two minutes to three. CON-MAN -LRB- disgusted. -RRB- There are more police on the streets than whores. The BURGLAR sits in an armchair, a bag under his arm. In front of him, a small low table, with an ashtray on it overflowing with butts. BURGLAR Wherever you spit. nothing but cops. The SAFE - BREAKER, chewing on his cigarette holder, comes up to the table. He wears a white waistcoat and a white bow - tie. A 1900 - style chandelier hangs above everyone. PICK-POCKET Even when you're with a doll, they do n't leave you in peace. And they've gone nuts too. All they can think about is that murderer. -LRB- to the SAFE - BREAKER. -RRB-. Mine. she's got a little six - year old girl, and, every night, I have to waste time searching under the bed and in the cupboards to make sure the murderer is n't hiding there. The CON - MAN spreads three cards out on the table. The SAFE - BREAKER indicates a card with the look of an expert. The CON - MAN turns it up : an ace. The PICK - POCKET takes out a handkerchief and spreads it out beside the watches. PICK-POCKET You ca n't even get on with your job. Everywhere you come across the police. There's no privacy any more. I'm fed up. The SAFE - BREAKER walks around the table, looking at the time as he passes. CON-MAN -LRB- bored. -RRB- What else is new? He puts the cards in his pocket. The PICK - POCKET arranges his watches in the handkerchief and slips them into his pocket. The SAFE - BREAKER sits down again. CON-MAN What's keeping Schraenker? PICK-POCKET Maybe he's been caught. BURGLAR -LRB- laughing. -RRB- Not him. -LRB- rejoins the others. -RRB- He did a bank job in London and Scotland Yard set a trap for him. there he was, hands up, back to the wall, millions of cops all round. and two seconds later there were two bodies on the ground and he'd beat it! The BURGLAR has sat down, his bag on his knee. The SAFE - BREAKER lights another cigarette from the stub of the first. SAFE-BREAKER -LRB- with respect. -RRB- The best man between Berlin and San Francisco. BURGLAR They've been looking for him for six years and they have n't caught him. PICK-POCKET Have n't caught him. But dogs can kill wolves. SAFE-BREAKER Shut up. The PICK - POCKET tries to calm the SAFE - BREAKER. They are all nervous and worried, and smoke heavily. The CON - MAN looks at the time again. CON-MAN The suspense is killing. He's usually right on time - On these last words, the door bell RINGS four times. Relieved, they look at one another. PICK-POCKET Thank God! BURGLAR At last! The door opens. SCHRAENKER appears in leather overcoat, bowler hat and carrying a walking stick. He immediately shuts the door, but does n't come into the room. ALL Good afternoon. You've got here at last. Good afternoon. SCHRAENKER Are you mad? Close the curtains. At the window, the curtains are half - drawn. Next to it is the table where the SAFE - BREAKER is sitting. The PICK - POCKET creeps along the wall to the window to avoid being seen from the street. The PICK - POCKET returns to his place at the table in the middle of the room. SCHRAENKER, at the central table, has taken off his overcoat to reveal a chalk - stripe suit, dark tie and black leather gloves. He removes his hat, putting it on the table with his curved - handled walking stick -LRB- very similar to Lohmann's -RRB-. SCHRAENKER Gentlemen, the meeting can now begin. He sits down to preside over the meeting. SCHRAENKER According to the regulations, I confirm with pleasure that the leadership of every organization in our Union is represented. He grasps his stick. SCHRAENKER I assume that you all have full powers. The SAFE - BREAKER nods. The PICK - POCKET, who is cracking a nut, nods too. The CON - MAN, while lighting a cigarette, also nods. Finally, the BURGLAR, still bent over the bag, also gives his assent. SCHRAENKER authorizing you to vote for your members. Good. let's not be held up by procedure. We all know why we are here. -LRB- vehemently. -RRB- Someone who is not a member of the Union is threatening our rackets. The new measures taken by the police, the daily raids in our areas to find this child murderer, interfere with our business activities in an unbearable way. We can put up no longer with the endless pressure from the police, in every hotel, cafe, or flat. SAFE-BREAKER That's for sure. PICK-POCKET Mm hmm! SCHRAENKER This state of affairs must not be allowed to continue. We'll have to put things right again or we'll be destroyed. The BURGLAR stubs out his cigarette. As SCHRAENKER continues to talk, the BURGLAR takes out another cigarette and strikes a match. Now and again SCHRAENKER'S gloved hand, playing with his stick, passes across frame. SCHRAENKER -LRB- o.s. -RRB- The funds of our organization are exhausted. Unless I make use of the funds put aside to support the wives of our colleagues who are being looked after by the state, I just do n't know where I'll find the funds needed for the preparation and execution of our various projects. What is more, our reputation is suffering. The cops are looking for the murderer in our ranks, gentlemen. When I come up against a cop while carrying on my business, he knows the risk he runs. and I do, as well. If one of us dies. okay. that's a risk one must take. It can happen : but we are not on the same level as this man they're looking for now. SCHRAENKER underlines these last words with a wide gesture. SAFE-BREAKER Exactly. SCHRAENKER There is a chasm between him and us. BURGLAR Of course. PICK-POCKET -LRB- at the same time. -RRB- No comparison. SCHRAENKER We're doing our job because we have a living to make. But this monster has no right to live. He must DIS - APP - EAR. He must be exterminated, without pity. without scruples. Gentlemen, our members must be able to carry on their business normally, without being handicapped by the growing nervousness of the police. I'm appealing to you. With a gesture, he invites comments ; on the gesture, we CUT TO", "INT. THE OFFICE OF THE CHIEF OF POLICE - NIGHT The CHIEF continues SCHRAENKER'S same gesture. A meeting is also in progress at his office. Policemen and high - ranking detective inspectors are sitting at a long conference table, littered with brandy glasses and coffee cups. Cigar - smoke fills the air. The CHIEF stands at the head of the table and finishes SCHRAENKER'S line : CHIEF OF POLICE for advice. He sits down and a police OFFICER rises. Beside him, a bespectacled man in plainclothes listens attentively. THE OFFICER -LRB- in a military tone. -RRB- I suggest a closer watch on I.D. cards, a systematic search of the the whole city, police raids. The bespectacled man looks dubious. THE OFFICER more numerous raids, and certainly tougher ones. He sits down. We now CUT BACK AND FORTH between the meetings of the police and the underworld. AT THE UNDERWORLD MEETING. the CON - MAN gets up. CON-MAN Spies. We need spies in the ranks of the police to give us plenty of warning of new measures. BURGLAR The girls've got to take a little more notice of the cops. We're always getting into trouble because one of the girls has snitched to her cop boyfriend. The PICK - POCKET agrees ; the CON - MAN sits down satisfied. BURGLAR Now, it's up to the girls to snitch for us! The SAFE - BREAKER rises. SAFE-BREAKER What we must do. And after all, we've all got contacts. What we must do is make a statement to the Press ourselves, tell them that we, the Organization, members of the Union - we condemn the bastard just as much! We ought to make it known that the police should quit looking for him in the underworld. AT THE POLICE MEETING. an elderly bespectacled detective, with a small beard and a stiff collar, speaks. Another detective sits on his right ; on his left, a police officer with a monocle. ELDERLY DETECTIVE I'm sure it's a man who looks like a peaceful little family man, who would n't harm a fly, except when he has his fits, of course! LOHMANN listens with interest. ELDERLY DETECTIVE Perhaps in his normal state, he even plays marbles with the concierge's children. LOHMANN nods agreement. ELDERLY DETECTIVE Or perhaps plays cards with his wife. Without this appearance of, let's say inoffensiveness in private life, it would be impossible to believe that murderers like Grossmann or Haarmann were able to live for years in large, busy blocks of flats without their neighbors suspecting them in the slightest. An OFFICER with a moustache, smoking a pipe, agrees ; beside him a plain - clothes man takes notes. THE OFFICER That's what we must get across to the public. They must help. LOHMANN, clearly annoyed, rises to his feet. LOHMANN Do n't talk to me about help from the general public. It disgusts me just to hear them talk. He bows towards the CHIEF OF POLICE. LOHMANN Sorry, Chief. The CHIEF, smiling, makes a gesture accepting the apology. LOHMANN Sorry, but that is the truth. Good God! Has help from the public brought us one useful clue? Furiously, he stubs out his cigar. LOHMANN Just a pile of letters full of the most incredible accusations! Two INSPECTORS at the end of the table concur. FIRST INSPECTOR How true. LOHMANN Calls to the police as soon as a garbage man steps on their lawn. SECOND INSPECTOR Exactly. LOHMANN But when we want really accurate information. they ca n't remember anything, they've seen nothing. That's help from the public for you. CHIEF OF POLICE -LRB- smiling. -RRB- I think you exaggerate a little, Lohmann. AT THE UNDERWORLD MEETING. great clouds of smoke drift over the table. All present are deep in thought. The PICK - POCKET breaks the silence. PICK-POCKET I've got an idea! There's a magician, no, a tele. telepa. or is it radiologist? Anyway, I do n't know what you call them. one of those guys who finds handkerchiefs and wallets that have been hidden. The BURGLAR turns away skeptically. AT THE POLICE MEETING. also full of smoke, a uniformed OFFICER speaks. OFFICER I also think the reward is n't high enough. His neighbor, an INSPECTOR, gestures in disagreement and gets up. OFFICER Chief. we must offer a real fortune for catching the murderer. The INSPECTOR, standing, pushes his chair up to the table. INSPECTOR -LRB- irritably, as he leaves. -RRB- None of this is getting us anywhere. AT THE UNDERWORLD MEETING. clouds of cigarette smoke hang around the fringed lampshade. SAFE-BREAKER That wo n't do any good. CON-MAN Well, what do you suggest? The BURGLAR gets up, moves behind his armchair and leans on the back of it. BURGLAR Well, we ca n't just wait until the police make up their minds to arrest this guy. AT THE POLICE MEETING. An INSPECTOR with long disorderly white hair leans over the back of his chair towards the CHIEF OF POLICE, continuing the movement of the BURGLAR. The POLICEMAN with the monocle sits on his left ; on his right in the foreground, another INSPECTOR sits. THE INSPECTOR The difficulty of solving this type of crime is increased by the fact that the wrongdoer and the victim are only connected by a chance meeting. An instantaneous impulse is the killer's only motive. THE CHIEF -LRB- impressed. -RRB- Hmm. Hmm. THE INSPECTOR We find the victim ; we identify her ; we find out when she was last seen. And then, and then, nothing more. The children disappear. AT THE UNDERWORLD MEETING. the SAFE - BREAKER stands. In the background, the rest sit round the table. The BURGLAR perches on the back of his chair. SAFE-BREAKER The police have been looking for this murderer for eight months now. Now it's got to the point where they'll only catch him by luck. BURGLAR We ca n't wait for that. CON-MAN We'll be ruined before then. SAFE-BREAKER What are we going to do then? HIGH ANGLE - THE POLICE MEETING The room is misty with thick clouds of smoke. The meeting has come to a full stop and some of the officers have got up and are pacing around the room. HIGH ANGLE - THE UNDERWORLD MEETING The PICK - POCKET has made a huge question mark with the shells of his nuts on the table. The SAFE - BREAKER and the BURGLAR both pace restlessly up and down. HIGH ANGLE - THE POLICE MEETING Most people have left their places and are wandering around the room. HIGH ANGLE - THE UNDERWORLD MEETING Only the PICK - POCKET and SCHRAENKER sit. The CON - MAN stands by the table, and the SAFE - BREAKER has moved into the background by the window. SCHRAENKER slowly lifts his bowed head and, finally, deliberately, breaks the silence. SCHRAENKER -LRB- decisively. -RRB- We'll have to catch him ourselves. Astonished, the others slowly gather round him. SCHRAENKER Yes. we must. This is what we must do. THE POLICE MEETING Abandoned chairs around the conference table - most of the delegates wander up and down. But gradually their attention is drawn to what LOHMANN is saying and one or two nod their heads in agreement. LOHMANN There's still one possible way. The guilty man or the possible suspects must already have a record somewhere. Such a person, deeply disturbed, must already have fallen foul of the law. We've got to contact every clinic, every prison, every lunatic asylum. Noise of general agreement. LOHMANN We'll have to make enquiries about everyone who has been freed as ` harmless' but who has the same pathological condition as the killer. THE UNDERWORLD MEETING. The crooks look down at a map spread across a map of Berlin. SCHRAENKER Every square yard must be permanently watched. From now on no child must take a step without us being warned. CLOSE - SCHRAENKER'S BLACK - GLOVED HAND. placed over the map. CON-MAN -LRB- o.s. -RRB- Okay, but how do we do it? SAFE-BREAKER -LRB- o.s. -RRB- Yes. how? SCHRAENKER -LRB- o.s. -RRB- There must be people. WIDER - The shadow of the group is silhouetted on the wall, SCHRAENKER'S shadow in the center. SCHRAENKER -LRB- o.s. -RRB- who can go anywhere without being noticed. who can follow anyone on the streets without arousing suspicion. who can follow the children right to their front doors without anytrouble. In fact, people no one would suspect of being guilty. THE OTHERS -LRB- o.s. -RRB- But who? Who? People like that do n't exist. Who could do it? Who? Who? SCHRAENKER pauses and then rises so that his shadow on the wall swells up. SCHRAENKER -LRB- o.s. -RRB- The beggars. The beggars' union.", "INT. THE BEGGAR'S MARKET - DAY A notice reads : NO MORE CREDIT. We PAN OFF this and TRACK TO a table where two beggars lay out bits of bread and slices of sausage. We TRACK to a CLOSE SHOT of their hands with the bread and sausage. 1ST BEGGAR -LRB- o.s. -RRB- Sausage going up. 2ND BEGGAR -LRB- o.s. -RRB- God, this cheese smells good. PAN TO another table where a game of cards is in progress. Only the players' hands and the cards are visible. 3RD BEGGAR -LRB- o.s. -RRB- That finishes you. PAN UP TO show a grizzled tramp, who has brought in a caged live chicken. He finishes a glass of wine, toasting his chicken. We TRACK past a grille in front of a cloakroom to find another tramp, snoring. Beside him, two others take the fillings out of sandwiches. 4TH BEGGAR Stop snoring! You'll wake the lice. We TRACK TO the counter where the fat BOSS OF THE BEGGARS' MARKET takes a steaming sausage out of a pot and takes a bite. Then he counts a packet of sandwiches a tramp has brought him. THE BOSS -LRB- counting. -RRB- Two, four, six, eight, ten, twelve, fourteen, sixteen, eighteen, twenty, twenty - two, twenty - four, twenty - six. As he continues, we MOVE towards a huge blackboard fixed to the wall behind him. On it is written : ` PRICES FOR THE EVENING OF THE 16th,' and then a list of every sort of sandwich, classified according to filling and the quality of the bread. The BOSS gets up on a stool and alters certain prices, murmuring to himself. THE BOSS Sandwiches : Friday, bad day for cold meat. No go. His voice continues, as we PAN UP to the floor above and PUSH THROUGH a window to a strange sort of office. A vulture's skeleton is on the left in the foreground. At the back of the room, beggars form a queue. We MOVE towards the office where two men from the Beggar's Union are working. One studies a map of the town, the other writes names into a huge register. 1ST MAN Now we must deal with the back yards. 2ND MAN Yes, from number one to number forty - eight. We MOVE towards SCHRAENKER who leans against the wall watching the work. PAN TO a door with a glass panel on which can be read : ` ACCOUNTS. Please give your name to the outside office.' In the corridor, as in the office, beggars wait behind a small barrier. 2ND MAN -LRB- o.s. -RRB- Next. The barrier is briefly raised and a beggar enters the office, taking off his cap. Another beggar stands in front of the TWO MEN who give him a small slip of paper. The 2ND MAN keeps a carbon copy of it. 2ND MAN You are responsible for the courtyards of every block of flats from 1 to 81 High Street. BEGGAR Right. The BEGGAR goes out. Another comes up. 2ND MAN Next. INSERT - a street map marked with the places where the children have disappeared or been murdered. CLOSE - the 1ST MAN's pencil follows one of the streets. 1ST MAN -LRB- o.s. -RRB- 89 to 196 High Street. Okay? WIDER ANGLE - OFFICE One tramp stands before the TWO MEN and two more tramps join him. The 2ND MAN notes down the first one's particulars. 2ND MAN -LRB- writing. -RRB- 89 to 196 High Street. What's your union number? TRAMP -LRB- after some thought. -RRB- Three, seven, ninety - five. Emil Dustermannn. CLOSE - a hand writing the name and number in the register. 2ND MAN Three. seven. ninety - five. Emil Dustermann. The hand tears a slip from the register. WIDER ANGLE - the line of BEGGARS with DUSTERMANN in the foreground : he has a wooden leg and leans on a stick. 2ND MAN There you are, Emil. He gives him the paper. 2ND MAN Maybe, you'll win the fifteen thousand. DUSTERMANN Maybe I will. -LRB- taps his leg. -RRB- Knock wood. ANOTHER ANGLE - ANOTHER PART OF THE MARKET An assorted collection of second - hand goods and junk is on display. A line of metal grilles form a cash desk, and there are violins and accordions spread out on a long table. In the background there are several barrel organs, and on a shelf a stack of old shoes and boots. A constant murmur of voices reaches us from other parts of the market. The junk dealer demonstrates one of the barrel organs to a beggar, but it is very out of key and only plays a few screeching NOTES. The BLIND BEGGAR - the one who sold the doll - like balloon to the MURDERER - sits at a nearby table drinking a beer, balloons floating above him. Putting down his glass, he covers his ears to blot out the screeching. Immediately, the excruciating noise from the barrel organ stops ; but as he lowers his hands, it starts up again. After a moment, another organ starts to play a charming polka. The BLIND BEGGAR lowers his hands and is delighted. He begins to conduct an imaginary orchestra. The music continues over as we", "EXT. THE COURTYARD OF A TENEMENT BLOCK - DAY HIGH ANGLE - Early evening. The setting sun casts long shadows across the tarmac. In the gloom, a few children stand in twos and threes watching a BEGGAR playing a barrel organ. Coins are thrown from windows above. CLOSER - the barrel organ. The music stops and the last coin rolls along the ground. BEGGAR -LRB- o.s. -RRB- Thank you, ladies and gentlemen, thank you.", "EXT. BEGGARS' MONTAGE - DAY The next day. SIDEWALK - The legs of a ANOTHER BEGGAR, seated on the curb, his hat upturned beside him. A man and a little girl pass but only their legs are visible. The little girl throws a coin into the hat. BEGGAR Thank you. CLOSE - the BEGGAR wears dark glasses and a notice round his neck saying ` BLIND'. A German sheepdog sits beside him. The two shadows of the passers - by draw away. The BEGGAR lifts his glasses to take a sly look after them and, on cue, the dog comically turns its head in the same direction. From the BEGGAR'S POV, we see the man and the little girl walking off arm - in - arm. We TRACK with them, past a poster advertising ` West - front 1918'. The man goes with the little girl as far as the entrance to a SCHOOL. He kisses her and leaves here there. Beside the school entrance, another BEGGAR, with two white pigeons, is on the look - out. SWEET SHOP Two little girls looking into the shop window. EMIL DUSTERMANN stands beside it, keeping watch. TOY SHOP In the shop window, a windmill and other mechanical toys are turning. Two children stop to watch while their nurse runs into a friend and walks off, unconsciously abandoning the kids. Other children join the first two at the window. A legless beggar, squatting on a little cart, looks on with concern. The nurse returns and retrieves her kids.", "INT. INSPECTOR LOHMANN'S OFFICE - DAY LOHMANN sits at his desk, smoking a cigar and reading a letter in his typewriter. INSERT - the letter. ` When searching their homes, we must above all look for any clue by which we could establish where the murderer's letter to the papers originated. If there is an old wooden table on which the letter could have been written, if there is a red pencil or any tiny pieces from sharpening such a pencil, or writing paper of the same type. The inquiries must be made as discreetly as possible. LOHMANN'S hand comes into shot holding a pen. He underlines the words ` old wooden table' and corrects a typing error. LOHMANN -LRB- off the typo, muttering. -RRB- Idiot. He also underlines the words ` red pencil'. A KNOCK on the door. LOHMANN Come in. WIDER ANGLE - OFFICE LOHMANN signs the letter. An ASSISTANT comes in and passes him a file. THE ASSISTANT Here's the list of mental patients who have been let out as cured or harmless in the last five years. INSERT - the file as LOHMANN sorts through it. It contains reports from ` Dr. Goll's Psychiatric Institute,' from ` Professor Emil Lebbowitz's private clinic for mental patients,' from ` The Protestant Hospital of Nazareth,' from ` The Elizabeth Clinic.' from ` St. Hedwig's Hospital.' etc.. ASSISTANT -LRB- o.s. -RRB- Reports from every institute, private and public. LOHMANN picks up another file. ASSISTANT -LRB- o.s. -RRB- And that's a list of their present addresses. LOHMANN opens the file and flicks through it.", "EXT. LOWER MIDDLE CLASS ROOMING HOUSE - DAY Early afternoon. The MURDERER, coming out into the street from the rooming house, moves off to the left. LOHMANN'S ASSISTANT immediately appears from the right. He hesitates an instant, then throws down his cigarette and goes in.", "INT. ROOMING HOUSE - ENTRANCE HALL - DAY INSERT - a name plate above a bell. It reads : ELIZABETH WINKLER. CLOSE - the ASSISTANT'S hand ruffles through a notebook full of addresses. All except the last three have been crossed out. His finger stops at ` HANS BECKERT, c/o E. WINKLER. Gleder St. 15, 2nd Floor.' WIDER - The ASSISTANT stands by a door on the landing. He rings and puts his notebook away. A small frightened old lady named MRS. WINKLER answers the door. A large key - ring is fixed to her apron. The ASSISTANT greets her. MRS. WINKLER -LRB- very softly. -RRB- Morning. ASSISTANT Does a Mr. Beckert live here? MRS. WINKLER What? ASSISTANT -LRB- louder. -RRB- Does Mr. Beckert live here? MRS. WINKLER I'm afraid I ca n't hear you. I'm a bit hard of hearing. ASSISTANT -LRB- to one side. -RRB- As if I could n't tell. -LRB- shouting. -RRB- Does a Mr. Beckert live here? MRS. WINKLER -LRB- a little worried. -RRB- Oh. Mr. Beckert? Yes. yes, of course. Yes, Mr. Beckert Lives here. I'm afraid he has just gone out. ASSISTANT Too bad. I wanted to see him. MRS. WINKLER -LRB- very softly. -RRB- Oh yes. She shrugs her shoulders. ASSISTANT -LRB- loudly. -RRB- I'm from the Income Tax Office. MRS. WINKLER -LRB- startled. -RRB- Oh, good God! The tax people! Yes. yes. Would you like. would you like to wait? She gestures to him to come in. He bows. ASSISTANT Yes, thank you. MRS. WINKLER Not at all. The ASSISTANT enters.", "INT. THE MURDERER'S ROOM - DAY Moments later, MRS. WINKLER unlocks the door to the room and allows the Assistant to enter. MRS. WINKLER Please take a seat. The ASSISTANT puts his hat on the round central table and sits down in an armchair beside it. She goes out. As soon as the door closes, he jumps up to examine the room, but he hears MRS. WINKLER coming back and only just has time to sit down again. She hands him a newspaper. MRS. WINKLER Perhaps you'd like something to read? ASSISTANT -LRB- loudly. -RRB- Thank you. You're most kind. MRS. WINKLER Not at all. He takes the paper. INSERT - the front page of the ` General Anzeiger' for 24th November, 1930. WIDER - The ASSISTANT and MRS. WINKLER. ASSISTANT Tell me, Mrs. Winkler, does Mr. Beckert take this paper? MRS. WINKLER, already at the door, turns around. MRS. WINKLER -LRB- astonished. -RRB- Mr. Beckert? -LRB- laughs. -RRB- No, he always borrows mine. ASSISTANT Ah. -LRB- beat. -RRB- Thank you. MRS. WINKLER nods and leaves the room. As soon as she has closed the door again, the ASSISTANT gets up and looks at the table where he put his hat. He throws the hat on the chair and carefully raises the cloth. HIGH ANGLE - the ASSISTANT bends over the table and scratches the wood with his fingernails.", "EXT. STREET - DAY A fruit - seller's barrow, piled high with apples, oranges and bananas. From a strut hang some superb pineapples. The MURDERER stands behind the barrow dolefully eating an apple, at the same time gesturing to the fruit - seller to put another in the bag being filled for him.", "INT. MURDERER'S ROOM - DAY HIGH ANGLE - the ASSISTANT finishes his inspection. Disappointed by the negative search, he slowly replaces the cloth. NEW ANGLES - the ASSISTANT beside the table. Above his head, hangs a Tiffany - style glass lampshade, and beyond him a large pottery stove stands against the wall. As the ASSISTANT carefully surveys the room, we PAN across from the bedside table to the double windows. A bowl of fruit and other foodstuffs are stored in the space between them. We recognize the same wide windowseat where the MURDERER wrote his letter to the press. We PAN back to the ASSISTANT again. He leans over a wicker waste - paper basket from which he extracts an empty cigarette packet, a publicity hand - out for cigars and a postcard, which he lifts up and studies carefully.", "EXT. STREET - DAY The MURDERER eats an apple and looks at a window display in a cutlery and silverware shop. We see him from inside through the glass, his face framed in the reflection of a diamond - shaped display of knives. The reflections of other cutlery form geometric patterns around him. We see the street behind him and his VIEW of the shop window : the knives are arranged around a diamond - shaped mirror on the screen at the back of the window. The MURDERER munches his apple. Suddenly he stops chewing. Reflected in the mirror he can see a little girl leaning against the railings on the other side of the street, the image framed with knives. The MURDERER stands transfixed, staring at her. He wipes his mouth with the back of his hand, eyes bulging. The little girl leans nonchalantly on the railings, obviously waiting for someone. The MURDERER'S arms fall limply to his side, he gasps for breath and his eyes close as he sways forward against the shop front. Then the fit subsides and he recovers slightly. Seen in reflection, the little girl leaves the railings and goes out of sight. The MURDERER slowly turns around and follows her with his eyes. He lowers his head and sets off slowly, whistling the ` Peer Gynt' theme.", "INT. MURDERER'S ROOM - DAY The ASSISTANT picks up an empty sweet carton from the bedside table, examines it and makes a note.", "EXT. STREET - DAY A bookshop window, in which hangs a spinning cardboard circle with an endlessly spiral design near a huge cardboard arrow bobbing quickly up and down. The little girl stares fascinated by the continual motion, until she turns away distracted by something else. Just as the ` Peer Gynt' theme begins to accompany her - WHISTLED piercingly by the MURDERER o.s. - the girl wanders on past other shop windows and delightedly flings her arms around a smart young woman who approaches her. LITTLE GIRL Hello, mummy! The whistling stops abruptly. The woman and the little girl walk off, arms around each other. We FOLLOW them along the pavement as they pass the MURDERER who has ducked into the bookshop doorway, pretending to look at some books displayed there. He looks around furtively and eventually steps out into the street to watch them go, his eyes drooping and his mouth partly open. Behind him the arrow continues to fly up and down, its shadow appearing to pierce the revolving spiral at every descent, as if stabbing at the MURDERER's heart. He puts his hands together on his chest, nervously scratching them. The MURDERER turns to see : A NEARBY CAFe. with tables outside, screened from the street by a trellis of climbing plants. The MURDERER enters and sits at a table to the left of the entrance, his face just visible in profile through the foliage. A WAITER comes out to serve him even though the cafe's not open yet. WAITER Good evening. What would you like? MURDERER Coffee. Sorry. The WAITER starts to withdraw. MURDERER -LRB- abruptly. -RRB- No! a vermouth. No, a brandy. The WAITER bows and withdraws. MURDERER -LRB- exhausted. -RRB- Brandy. brandy. We TRACK in towards the foliage. The MURDERER starts to intensely whistle his theme, then stops. He takes out a cigarette as the WAITER arrives to pour a brandy. WAITER There you are. The MURDERER drinks the brandy in a gulp. MURDERER -LRB- in a broken voice. -RRB- Another one. The WAITER'S hand pours another glass. WAITER There. The MURDERER swallows the second glass, leans forward and stares fixedly in front of him. With a mechanical gesture he puts a cigarette in his mouth and immediately takes it out again. He presses his two bunched fists into his eyes and starts to whistle again. Then he covers his ears. In the background the lights of the cafe come on and faintly light up the table. He immediately stops whistling and gets up. We TRACK away from him rapidly. MURDERER The bill. WAITER -LRB- coming up. -RRB- Two brandies. One sixty - five please. Coins CLINK on the saucer. WAITER Thanks very much. The MURDERER departs, whistling, his hands in his pockets.", "INT. INSPECTOR LOHMANN'S OFFICE - DAY LOHMANN, an enormous cigar in his hand, sits at his desk thinking. Beside him, his ASSISTANT makes his report. ASSISTANT Number 24 : Beckert. He does not take the Stadtischer Courier. A walnut table with a cloth. No red pencil, nor any traces of such a pencil. No writing paper. In the wastepaper basket, a printed advertisement and a colored postcard. LOHMANN thinks ; behind him we see a map of the city. ASSISTANT of a bunch of flowers, written on it : ` Regards, Paul.' No address of sender. An empty cigarette packet, Ariston brand. A bag of sweets with the name of a sweet shop. LOHMANN -LRB- interrupts. -RRB- Wait. wait a moment. He screws up his eyes and thinks. LOHMANN Ariston, did you say? A. ris. ton. We TRACK IN on LOHMANN'S face. Deep in thought, he writes the name in the air. We TRACK IN closer. LOHMANN That rings a bell. Ariston. We TRACK IN even closer. Suddenly, LOHMANN seems to have got it. He grabs the telephone. LOHMANN -LRB- into phone. -RRB- Hello. I want the file on the Marga Perl murder. Right away. He hangs up.", "EXT. BALLOON SELLER'S KIOSK - DAY The BLIND BEGGAR has just sold two balloons to a woman who pays and goes off. BLIND BEGGAR Thank you very much. From far off, we hear the MURDERER'S whistling approach. His shadow passes. The BLIND BEGGAR lifts his head. BLIND BEGGAR -LRB- to himself. -RRB- That's funny. I've heard that somewhere before. We TRACK IN closer. BLIND BEGGAR -LRB- to himself. -RRB- It was. it was. Some passers - by watch with concern as the BLIND BEGGAR walks forward, away from his kiosk, tapping with his stick. Near some PLANKS, half covering a hole in the road, the BLIND BEGGAR, still holding his balloons, waves to someone - to the surprise of some passers - by. BLIND BEGGAR Hey, hey, Henry! HENRY, a young man in a cap, rushes to join him. HENRY What is it? HENRY takes the BLIND BEGGAR'S hand. BLIND BEGGAR Listen a moment. There's someone whistling. Ca n't you hear him? HENRY shakes his head, no. The BLIND BEGGAR turns his face in the direction of the whistling. HENRY looks and listens. BLIND BEGGAR There. HENRY cranes his neck. But the whistling suddenly stops. BLIND BEGGAR He's just stopped. Did you see him, the guy who was whistling? HENRY Yes, yes. I can still see him. BLIND BEGGAR Yes? HENRY Sure. He's talking to a little girl as he walks down the street with her. BLIND BEGGAR After him, and do n't let him go. HENRY But why? BLIND BEGGAR The day Elsie Beckmann was killed someone bought a balloon off me. He was with a little girl. HENRY understands and rushes off. BLIND BEGGAR and the fellow whistled just like that!", "EXT. THE QUIET STREET - DAY HENRY runs to the end of the roadworks and looks around. The MURDERER is nowhere in sight. We FOLLOW a concerned HENRY as he enters the quiet street running at a right angle to the previous one. In a basement, a greengrocer's shop is lit up. He approaches and looks through the window. HENRY'S POV - The MURDERER and the LITTLE GIRL are being served by an old woman. She hands them a big paper bag and some sweets for the GIRL, who thanks her as the MURDERER pays. HENRY IN THE STREET - in front of the window ; he stands up quickly, then hesitates for a moment. Taking one last look through the window, he runs off. HENRY hides in a corner of the roadworks between a tar boiler and a great roll of cable. He watches the street. The MURDERER and the LITTLE GIRL come out of the shop. She curtsies and offers him the bag of fruit. He takes an orange. Anxiously, he looks right and left, but there is no one in sight. Then he sweeps back his coat and puts his hand into his trouser pocket. CLOSE - he takes out a switchblade knife and flicks it open. The blade glints and flashes in the gloom. ANGLE ON HENRY - ready to jump out. CLOSE - the blade peeling an orange. ANGLE ON HENRY - he searches his pockets ; he takes out a piece of chalk. CLOSE - the palm of HENRY's left hand on which he draws a large letter M, heavy with chalk dust. ANGLE ON the MURDERER, facing the girl. He finishes peeling his orange and throws the peel onto the ground. HENRY walks up, quickly but casually. As though by mistake, he knocks against the MURDERER and so gets a chance to slam his left hand against the back of the MURDERER'S left shoulder. Terrified, the MURDERER backs away, dropping the knife. HENRY -LRB- feigning annoyance. -RRB- Damn it, are you crazy, throwing your peel on the ground! HENRY gestures at the peel and walks off. HENRY -LRB- o.s. -RRB- I might have broken my neck. Unbelievable. CLOSE - the knife on the ground. HENRY -LRB- o.s. -RRB- I should report you to the police. You're a danger to the public. The LITTLE GIRL bends over and picks up the knife. PULL BACK to a WIDER SHOT as she rises and tries to hand the knife to the MURDERER. But he is still staring at HENRY. The LITTLE GIRL gives the still shaken MURDERER a little nudge. LITTLE GIRL Uncle. The MURDERER is startled by the nudge but quickly recovers. He takes her hand, with the knife in it, and presses it to his chest as we CIRCLE AROUND behind him, to discover - high on his back and unbenownst to him - a ragged letter'M' outlined in chalk.", "INT. INSPECTOR LOHMANN'S OFFICE - DAY LOHMANN sits at his desk, his ASSISTANT standing beside him. LOHMANN studies a dossier, following the lines with his finger. Suddenly he raises his head. LOHMANN There. that's it. They found three cigarette stubs where the crime took place - Aristons. ASSISTANT Yes, the cigarettes are the same, but there is no old wooden table. Nervously, LOHMANN waves away the objection and plunges back into the dossier. ASSISTANT -LRB- thoughtfully. -RRB- Of course. he could have written the letter somewhere else, but. The ASSISTANT's eyes turn to LOHMANN'S office window. He glances at the sill. ASSISTANT -LRB- suddenly leaning towards LOHMANN. -RRB-. Heavens, the windowsill!", "INT. MURDERER'S ROOM - DAY CLOSE - The windowsill. A hand holds a magnifying glass through which we see the grain of the wood on the sill. WIDER - LOHMANN and his ASSISTANT closely examine the sill. LOHMANN holds the magnifying glass and we see them in profile. LOHMANN You're right! ASSISTANT -LRB- opening one of the windows. -RRB- Just a minute! He bends over the gap between the double windows, licks his finger, and pushes the wet finger into the gap. He examines his finger, then turns to show it to LOHMANN. CLOSE - his dirty finger. ASSISTANT Red pencil shavings! WIDER - LOHMANN and his ASSISTANT stand in front of the window. LOHMANN -LRB- with great satisfaction. -RRB- Good God. At last, we are getting somewhere!", "INT. UNDERWORLD MEETING ROOM - DAY SCHRAENKER sits, wearing his bowler. The SAFE - BREAKER is on the telephone opposite him. The BURGLAR and the PICK - POCKET stand beside him. They all wear overcoats. SAFE-BREAKER -LRB- into the phone. -RRB- Yes. yes. What? The doorbell RINGS. SAFE-BREAKER -LRB- to the others. -RRB- They're on his trail. CON-MAN -LRB- enters and joins the group. -RRB- They've found him? PICK-POCKET The beggars found him. BURGLAR He was talking to a little girl. CON-MAN Tell me more. PICK-POCKET They put a mark on him. SAFE-BREAKER -LRB- to the others. -RRB- Ca n't you be quiet?! -LRB- into the phone. -RRB- What's that?", "INT. TELEPHONE BOOTH - DAY HENRY's on the line. HENRY -LRB- into the phone. -RRB- They're following the sign. They're not letting him out of their sight for a second.", "EXT. CITY STREETS - SURVEILLANCE MONTAGE - DAY The MURDERER walks slowly down a street with the LITTLE GIRL. A passer - by throws down a cigarette butt. A tramp comes up, accompanied by a colleague with one leg, picks up the stub, and follows the MURDERER. NEW ANGLE - the MURDERER and the LITTLE GIRL, as they reach a column covered with posters. The two BEGGARS follow close behind. The ONE - LEGGED MAN disappears behind the column and a MAN IN A CAP takes his place. NEW ANGLE - STREET Seen from a half - open door. Behind the door is the outline of a MAN ON WATCH. The MURDERER and the LITTLE GIRL cross the road, followed warily by the MAN IN A CAP and his partner. The MAN ON WATCH takes over for the partner. ANOTHER ANGLE - the MURDERER and the LITTLE GIRL passing in front of a cheap cafe. The two beggars are still following. The MAN IN A CAP taps on the window of the cafe. Immediately, a man comes out and takes over trailing the MURDERER.", "EXT. TOY SHOP - DAY The window display of a toy shop, seen from the inside, full of dolls, teddy bears, and all kinds of toys. A lot of traffic in the street. The MURDERER and the LITTLE GIRL stop in front of the window. He talks to her enthusiastically and she eagerly points out a toy to him. The MURDERER nods his head. NEW ANGLE - the entrance of the shop from the street. The MURDERER is just about to go in when the LITTLE GIRL sees the chalk mark and grabs his sleeve. LITTLE GIRL Uncle. MURDERER What is it? LITTLE GIRL You're all dirty. MURDERER Where? He looks at himself in a mirror beside the doorway. LITTLE GIRL There, on your shoulder. CLOSE - the MURDERER'S reflection in the mirror. He turns and sees the M reflected. His eyes bulge. CLOSER - the letter M. WIDER - the LITTLE GIRL and the MURDERER together. LITTLE GIRL Here, I'll clean it off. She tries to rub off the letter with her handkerchief. The MURDERER stares at it in the mirror. Suddenly frightened, he turns nervously towards the street. MURDERER'S POV : a BEGGAR, hiding behind a beer truck. RESUME on the panicking MURDERER and the LITTLE GIRL. LITTLE GIRL -LRB- astonished. -RRB- Whatever's the matter? MURDERER Come on. let's go. He takes her hand and is about to leave when he hears someone WHISTLE sharply. Terrified, he lets go of the LITTLE GIRL and runs away. RESUME on the BEGGAR, looking around, distraught. Then he WHISTLES through his fingers. ANOTHER ANGLE - a street corner with a street lamp, with a pawnbroker's shop in the background. The MURDERER runs to the corner, where he startles easily at the sound of more shrill WHISTLES. Uncertain, he moves first one way and then the other, before finally deciding to turn down a side street. We PAN WITH him to reveal a man standing nearby, pressed tensely against the wall of a building, watching the MURDERER. Is he one of the beggars? Or just an innocent bystander? They regard one another for a long, agonizing moment. Nervously, the MURDERER hesitates a moment, is about to tip his hat to him, but then walks off briskly. The man watches the MURDERER depart, then, after a long moment, begins to follow him. HIGH ANGLE - the MURDERER in an empty street, trying to shake off his pursuers. He turns sharp left and crosses the road, but at the far end two beggars appear. The MURDERER retraces his steps and stops undecided in front of the covered entrance GATE to a huge block of offices. In the foreground, a pursuer blocks the middle of the street. GATEWAY - The gate, a geometrical structure, leads to the inner courtyard of an office building. We TRACK rapidly with him as the MURDERER frantically runs in and hides behind a buttress. Anxiously, he watches the gateway. MURDERER'S POV - An open gate on the other side of the courtyard leading to another street. A policeman passes across it. RESUME on the MURDERER in his hiding - place ; he presses back against the wall as the policeman passes in the background. TWO BEGGARS - They appear in the gateway which the MURDERER came through. RESUME on the MURDERER, poking his head out to look at the street. THREE BEGGARS - A third beggar arrives and join the other two. They take stock of the situation. The FIRST BEGGAR gives a signal and the two others go off right and left to circle the building. The siren of a fire engine BLARES in the distance. WIDE ANGLE - From the street we see the gateway where the MURDERER, a tiny figure, hides behind a pillar. Two fire engines ROAR past, sirens BLARING and lights flashing - and blocking the remaining beggar's view. By the time the fire engines have passed, the MURDERER has disappeared. The FIRST BEGGAR quickly crosses the road and goes through the gateway arch, searching vainly for the MURDERER. The two other BEGGARS return and join him in the courtyard. THE THREE BEGGARS - They confer. 2ND BEGGAR Anyway, he has n't come out. We would have seen him. 3RD BEGGAR Impossible. 1ST BEGGAR He must be in the courtyard, then. He did n't come out this way either. 2ND BEGGAR He must be somewhere. The BEGGARS peer around. BEGGAR'S POV - PAN ALONG the face of the office building. The sun is now very low and the windows are lighted. 1ST BEGGAR -LRB- o.s. -RRB- Maybe he's gone to hide inside the building. A clock STRIKES six o'clock. 2ND BEGGAR Hell! The offices will be closing. 1ST BEGGAR As long as he does n't get out with all the people coming out. The 2ND BEGGAR rushes off to look through the other gateway. 2ND BEGGAR -LRB- coming back. -RRB- Hell! Here come the first ones already. 1ST BEGGAR Let's go out into the street. He starts to rush off. Office workers begin to exit the building. 1ST BEGGAR Keep a sharp look out. The other two run towards the other entrance as the office workers start streaming out, some riding bicycles. The 2ND BEGGAR, pretending to sell matches, watches them carefully. VARIOUS VOICES Excuse me, I just want to light my cigarette. My holidays start tomorrow. First I'm going to Konigsberg. With my ulcer, I ca n't eat things like that. The boss came and saw me today. In the foreground, a car passes, HOOTING.", "INT. THE MURDERER'S ROOM - NIGHT LOHMANN'S ASSISTANT sits on the windowsill. Two other plainclothesmen sit in the foreground. ASSISTANT Put out the light, otherwise he'll suspect something when he gets back. A PLAINCLOTHES MAN rises and switches the light off, the ASSISTANT looks out of the window. PLAINCLOTHES MAN What's the time? ASSISTANT -LRB- checks his watch. -RRB- Nearly six - thirty.", "EXT. OFFICE BUILDING - NIGHT A uniformed watchman finishes closing and locking the imposing security gate that goes right across the gateway entrance. He greets a passing policeman and goes back into the building. We HOLD on the empty courtyard for a beat or two. Where is the murderer?", "INT. TELEPHONE BOOTH - NIGHT The 1ST BEGGAR talks to the underworld bosses. 1ST BEGGAR He must still be in the building. Anyway, he did n't come out with the others.", "INT. THE UNDERWORLD MEETING ROOM - NIGHT The SAFE - BREAKER, a cigarette - holder in his mouth, is on the telephone in the crooks' MEETING ROOM. Standing beside him, SCHRAENKER, still wearing overcoat and bowler, plays with his stick. SAFE-BREAKER -LRB- into the phone. -RRB- Okay. yes. yes. no, just a moment. He covers the mouthpiece with his hand and turns to SCHRAENKER. SAFE-BREAKER The beggars have gone for reinforcements to search the whole area. They say the murderer must still be in the building. SCHRAENKER Hmm. -LRB- thoughtful pause. -RRB- What kind of building is it? SAFE-BREAKER -LRB- into the phone. -RRB- What kind of building is it?", "INT. TELEPHONE BOOTH - NIGHT BEGGAR -LRB- into the phone. -RRB- Nothing but offices. I do n't know what's in the cellar. There's a branch of the Savings Bank on the ground floor, and from the first to the fifth, nothing but offices, and above that, lofts.", "INT. OFFICE BUILDING - THE TOP FLOOR - NIGHT Over bannisters on a top floor landing, we see the half - open door of an attic loft. To the right of the door is the NIGHT WATCHMAN'S time - switch. The WATCHMAN comes up and stops, astonished, in front of the door. WATCHMAN -LRB- to himself. -RRB- Look at that. It's not possible. We TRACK WITH him as he pushes open the door and looks into the attic. WATCHMAN -LRB- shouting. -RRB- Anyone there? He turns on the light and enters. VARIOUS ANGLES - In the attic. The WATCHMAN walks down a corridor. WATCHMAN Hello! Hello! Hello! In the foreground, various compartments, all filled with a jumble of old furniture and bric - a - brac, cut off from the passage by fence - like partitions. The WATCHMAN passes behind them. We TRACK WITH him past several compartments. WATCHMAN Anyone there? He checks one of the doors by shaking it to see whether it is firmly closed. He goes to the next one, where he does the same. NEW ANGLE - In the gloom of the attic, we can just make out the MURDERER, hiding in a corner. We hear the disappearing FOOTSTEPS of the WATCHMAN and the rattle of doors. WATCHMAN -LRB- o.s., quietly, to himself. -RRB- Whatever next!? -LRB- shouting again. -RRB- Anyone there? RESUME on the WATCHMAN seen through the fence - like partitions. He shakes a door, looks once more along the corridor, then turns away. WATCHMAN Bah! Damn carelessness. All that trouble for one door. He goes out. RESUME on the MURDERER as the attic light goes out. He stands up, tremendously relieved. We hear the door that leads out onto the landing close and a key turn in the lock. The MURDERER stands alert, breathing heavily, realizing he's trapped.", "INT. UNDERWORLD MEETING ROOM - NIGHT SCHRAENKER, the PICK - POCKET, the CON - MAN, the BURGLAR and the SAFE - BREAKER are grouped around the table. SCHRAENKER, standing, looks down superciliously, holding his cane handle down on the table. The SAFE - BREAKER is on the telephone. SAFE-BREAKER -LRB- into the phone. -RRB- Yes. ah! Good. He covers the receiver and turns to the others. SAFE-BREAKER It looks as if the guy is really cornered now. I think we'd better tell the police straight away. CON-MAN I agree. The BURGLAR and the PICK - POCKET also agree. The SAFE - BREAKER starts to talk into the telephone again. SAFE-BREAKER -LRB- into the phone. -RRB- Now then, listen carefully. SCHRAENKER violently grabs the receiver from him. SCHRAENKER -LRB- into the phone. -RRB- Hello. Just a moment. What? Okay. and call me back. He hangs up. SAFE-BREAKER What is it? What's got into you? SCHRAENKER -LRB- grimly. -RRB- Are you mad or something? SAFE-BREAKER Why? SCHRAENKER The police? No. we're going to get the guy ourselves. Listen. now, the time is. Clumsily, everyone fumbles for a watch. CON-MAN Eight o'clock. SCHRAENKER Good. Then, at. nine. ten. eleven o'clock!", "EXT. OFFICE BUILDING - GATEWAY - NIGHT The gateway of the office block. From the street outside, we can see through the sliding gates across the courtyard to the lighted windows of the WATCHMEN'S OFFICE. Somewhere a clock STRIKES eleven, as a uniformed policeman walks up to the gates and stops. He RINGS the bell. One of the watchmen comes out into the courtyard. WATCHMAN'S POV reveals the empty street through the gates and the policeman saluting behind them. POLICEMAN Good evening. Did you know your gates. CLOSE - THE GATE. it is locked tight. POLICEMAN were n't closed? WATCHMAN -LRB- o.s. -RRB- What? But that's impossible. He comes forward, but only his hands holding a lamp are visible. WATCHMAN -LRB- o.s. -RRB- I've only just. CLOSE - WATCHMAN'S HAND - shaking the gate. WATCHMAN -LRB- o.s. -RRB- But it is. He stops suddenly. We PAN to his shocked face. SMASH CUT - the POLICEMAN'S gloved hand points a revolver through the ironwork. POLICEMAN -LRB- o.s. -RRB- Open up and no noise! CLOSE - THE WATCHMAN - stunned, behind the gate. REVERSE SHOT - THE POLICEMAN - who turns out to be SCHRAENKER in disguise. He points two revolvers. SCHRAENKER Are you going to open up, then? -LRB- a pause ; then, brutally. -RRB- Come on. get it open! The WATCHMAN slides back the gate. SCHRAENKER goes through and with the barrel of one of his guns pushes the WATCHMAN towards his office. The gate stays open. SCHRAENKER Get a move on! ANGLE ON THE GATE - which has been pushed open just wide enough to let one person through at a time. The key ring swaying from the key in the lock of the gate. O.s. SCHRAENKER whistles a few bars of the song, ` Be faithful and honest.' Someone else echoes his whistling. The SAFE - BREAKER appears and signals to a group of colleagues to follow him. They pass through the gate, loaded with bags and suitcases. They all gather in front of. THE WATCHMEN'S OFFICE. Over the heads of the whole group, through the glass partition and half - open door, we see the WATCHMAN sitting terrified on a chair with SCHRAENKER and the CON - MAN standing over him. SCHRAENKER How many other watchmen are there in the building? The WATCHMAN does not move. SCHRAENKER Okay then, so you do n't want to answer, huh? The WATCHMAN shakes his head. The CON - MAN grabs him by the waistcoat. SCHRAENKER -LRB- ironically. -RRB- Okay, then. Okay. He shuts the door from the inside. Through the glass panes of the door, we see SCHRAENKER saying something to the WATCHMAN who still refuses to reply. At a sign from SCHRAENKER, the CON - MAN reaches over the seated WATCHMAN'S shoulders and pulls back the WATCHMAN'S arms. The crowd of crooks press forward to watch the torture through the glass, thus partially blocking our view. After a second's silence, there is a sharp SCREAM. SCHRAENKER opens the door and speaks to the crooks standing outside. SCHRAENKER -LRB- matter - of - fact. -RRB- Two more watchmen, guys.", "INT. OFFICE BUILDING - NIGHT HALLWAY - One of the other watchmen comes through and resets a time switch on the wall and then moves on out of sight. THE ATTIC - where the MURDERER, seen through the slatted partitions, tries to force the lock of the main attic door with his knife. He swears in a low voice. CLOSE - the lock over the MURDERER'S shoulder. He removes one of the screws around the lock and rattles the lock furiously - but it wo n't open. MURDERER Damn it! He examines the lock from underneath. On his back the chalked letter M is still visible. HUGE CLOSE - UP - he slips the blade of his knife between the lock and the door, trying to pry open the catch, but the blade snaps and the point falls to the ground. WIDER - the MURDERER half - standing, half leaning on the door. MURDERER Damn it! He raises his arm to throw the knife handle away. MURDERER -LRB- muttering. -RRB- Hell! He freezes abruptly, arm up and eyes rolling wildly. He hears something on the other side of the door and listens intently. ON THE OTHER SIDE OF THE DOOR - a WATCHMAN passes. He resets the time - switch. FOURTH FLOOR LANDING - Two crooks work on the lock of a door ; one makes an impression, the other passes him the appropriate skeleton key. A third man comes up the stairs carrying a case. FIRST FLOOR LANDING - SCHRAENKER stands on the steps. Two crooks pass him carrying suitcases. SCHRAENKER Careful with the lights. And do n't walk like elephants. The PICK - POCKET arrives from the basement wearing a raincoat and cap. SCHRAENKER What's up? PICK-POCKET He is n't in the basement. We've been through it with a fine comb and found nothing. SCHRAENKER Hmm! PICK-POCKET Fried and Auguste are still going through the boiler rooms. The PICK - POCKET starts back down the stairs when SCHRAENKER calls him back. SCHRAENKER Wait. Two crooks carrying an unconscious watchman pass by in the background. CROOK -LRB- to SCHRAENKER. -RRB- That's the last one. SCHRAENKER -LRB- to PICK - POCKET. -RRB- Go up and join Emile. He needs help. PICK-POCKET Okay. SCHRAENKER Go on, get a move on! The PICK - POCKET hurries up the stairs. WATCHMEN'S OFFICE - Dressed rather incongruously in a smart overcoat, silk scarf, and bowler, the SAFE - BREAKER pores over a plan on the table. Another time - switch is on the wall behind him. Propped up against the desk, the second watchman lies bound and unconscious. The two crooks carry the third watchman in, followed by the PICK - POCKET. PICK-POCKET Schraenker sent me. SAFE-BREAKER Good. Listen carefully. He points to a time - switch. CLOSE - THE TIMESWITCH The SAFE - BREAKER'S gloved hand points at the alarm with his cigarette holder. SAFE-BREAKER -LRB- o.s. -RRB- It's a new type of time - switch. CLOSE - BLUEPRINT The gloved hand points to a plan of the building. SAFE-BREAKER -LRB- o.s. -RRB- Here is a general plan of the lay - out. If the time - switches are not reset at exactly the right time, they automatically set off an alarm at the nearest police station. Get it? RESUME on the time clock. PICK-POCKET -LRB- o.s. -RRB- Sure. The SAFE - BREAKER'S hand puts a key into the lock and turns it. SAFE-BREAKER -LRB- o.s. -RRB- Like that. WIDER - the two of them stand in front of the switch. The PICK - POCKET looks at the plan. SAFE-BREAKER Have you got it? PICK-POCKET What do you think I am, some kind of idiot? SAFE-BREAKER Could be. He hands him the key. The PICK - POCKET sets off at a run to make his rounds. STAIRCASE - SCHRAENKER stands, listening to the report of two more of his men. 1ST CROOK He is n't in the boiler room either. SCHRAENKER Fine. Two men pass with cylinders of gas and an oxy - acetylene cutter. 2ND CROOK We moved all the coal. SCHRAENKER -LRB- shouting up to an upper floor. -RRB- Hey! On the landing above, the BURGLAR sets up the acetylene cutter in front of a door. SCHRAENKER Are you crazy? The BURGLAR stops his work and straightens up. SCHRAENKER and the other two men look up at him. SCHRAENKER What if that door's wired up already? Do you want to get the police out here right away? BURGLAR Okay. But we've got to get in if we're going to search the whole building. SCHRAENKER -LRB- exasperated. -RRB- But not by the door, you fool! He taps his temple. SCHRAENKER The office on the floor above. go through the ceiling. HIGH ANGLE - three crooks coming out of a hallway onto the fourth floor landing. They move towards the bannisters. One of them, wearing a beret pulled down over his ears, leans over and shouts. CROOK Nothing! OFFICE - SECOND FLOOR The BURGLAR again. He drills with some difficulty through the floor with a power - drill. The SAFE - BREAKER'S legs can be seen next to him where he stands holding a torch. The BURGLAR'S tool bag lies open on the floor beside him. THE LOFT The MURDERER, using the broken knife, tries to lever a nail out of one of the wooden uprights of a partition. CLOSE - THE BROKEN BLADE WIDER - as he struggles to remove the nail by hand. CLOSE AGAIN - the blade levers the nail out. OFFICE - SECOND FLOOR The BURGLAR and the SAFE - BREAKER have now managed to make a decent - sized hole in the floor. The BURGLAR throws down a rope ladder. BURGLAR Right. let's go. He lowers himself through the hole. The SAFE - BREAKER leans over and watches him climb down. TOP FLOOR The PICK - POCKET, still studying the plan of the building, has now reached the time - switch outside the main door to the attics. He is just about to put the key in the lock when he hears a faint sound of BANGING. Glancing around nervously, he stops to listen. IN THE ATTIC, the MURDERER, squatting behind the door, hammers something. CLOSE - he flattens one end of the nail with the handle of his knife. ON THE OTHER SIDE OF THE DOOR, the PICK - POCKET creeps nearer to the door, listening carefully. The BANGING continues. Wildly excited, he makes for the stairs ; but he suddenly remembers the time - switch and turns back on his heels and quickly resets it. He pauses for a second to listen again, and then rushes downstairs. TOP FLOOR - the PICK - POCKET, plan in hand, races down the stairs from the sixth floor landing. ON THE FIFTH FLOOR Some crooks force a door on the fifth floor landing. As the PICK - POCKET races past, one of them turns round. 5TH FLOOR CROOK Hey, what's up? The PICK - POCKET does n't stop. 5TH FLOOR CROOK Hey, ca n't you answer me? What's happening? Oy, Paul, you might tell us. FOURTH FLOOR A man in a beret runs out into the hallway, torch in one hand, revolver in the other. He leans over the bannisters to get a better view of the PICK - POCKET. CROOK IN BERET What's going on? PICK-POCKET -LRB- breathless. -RRB- I heard someone banging! Another crook emerges into the hallway. The PICK - POCKET races past. SECOND CROOK What did you say? CROOK IN BERET What's the hurry? OFFICE - SECOND FLOOR The SAFE - BREAKER who leans over the hole in the floor, shining his torch to light up the room below. Hearing the shouting, he jumps up. He emerges into the HALLWAY and grabs at the PICK - POCKET as he passes. PICK-POCKET -LRB- shaking free. -RRB- I must see Schraenker! FIRST FLOOR The PICK - POCKET as he hurls himself towards SCHRAENKER, pointing frantically upwards. PICK-POCKET -LRB- out of breath. -RRB- In the attic. he's in the attic. I heard him knocking. The SAFE - BREAKER joins them. PICK-POCKET In the attic. he's in the attic! TOP FLOOR IN THE ATTIC, the MURDERER has succeeded in bending the nail and tries to use it as a skeleton key. He puts it into the key - hole and feels around with it. IN THE HALLWAY, the metallic sound of the nail inside the keyhole can still be heard, as SCHRAENKER and the others arrive. They stop to listen and the men nudge one another expectantly. SCHRAENKER Shhhhhh. keep quiet! The noise of the HAMMERING can be heard clearly. IN THE ATTIC, the MURDERER, crouched behind the door, HAMMERS at the nail. On the floor, he studies his crude skeleton key. He turns back to the door and is about to push the key into the keyhole when the handle moves very slightly. The MURDERER backs away and presses himself against the wall, eyes bulging with terror and staring fixedly at the door - handle. IN THE HALLWAY - CLOSE - THE LOCK - Two hands are testing a skeleton key selected from an assorted bunch on a large key ring. IN THE ATTIC, the MURDERER presses his ear against the door to listen and then slips off down the corridor. Halfway down, he turns back to switch off the light, plunging the place into darkness except for the illumination filtering in around the edges of the door. His shadow disappears into the recesses of the attic. A moment later, the door bursts open and SCHRAENKER appears in silhouette against the hallway light. Behind him three flashlights click on. SCHRAENKER Get on with it, then. Flashlight beams pass across the wooden partitions. SCHRAENKER -LRB- o.s. -RRB- He must be there. OTHER VOICES -LRB- o.s. -RRB- There's the switch. The lights come on. The men see the corridor with the numerous compartments, piled high with old furniture. SCHRAENKER -LRB- o.s. -RRB- Force the locks. Some crooks pass down the corridor. VOICES Come on. Hurry up! Get a move on! Come on. Off with it. Two crooks force a partition door. WATCHMAN'S OFFICE The CON - MAN sits by the window. The PICK - POCKET comes in, excited. PICK-POCKET We've got him! CON-MAN -LRB- getting up. -RRB- What? PICK-POCKET He's in the attic! CON-MAN Yeah? While the two crooks are talking, the FIRST WATCHMAN moves. Though still lying tied up on the floor, he makes an effort to haul himself onto his knees and reach the nearby alarm. PICK-POCKET -LRB- o.s. -RRB- Yes, I heard someone hammering. CON-MAN -LRB- o.s. -RRB- Who? PICK-POCKET -LRB- o.s. -RRB- and immediately told Schraenker. CON-MAN -LRB- o.s. -RRB- What did he say? PICK-POCKET -LRB- o.s. -RRB- He's already up there with eight men. CON-MAN -LRB- o.s. -RRB- That's good. PICK-POCKET -LRB- o.s. -RRB- They'll get him any moment. CON-MAN -LRB- o.s. -RRB- You think so? The two crooks are face to face. PICK-POCKET I just came down to tell you. CON-MAN Great. PICK-POCKET -LRB- importantly. -RRB- If I had n't been on the alert we might have been looking for him for hours. The CON - MAN rises quickly and grabs the PICK - POCKET by the shoulder. The WATCHMAN, on his knees, lifts his handcuffed hands towards the alarm bell. CON-MAN -LRB- o.s. -RRB- Look out! the watchman! The WATCHMAN'S hands snatch awkwardly at the alarm, connected directly to the local police station. A bell RINGS.", "INT. POLICE STATION - NIGHT A ticker - tape machine starts to operate by unrolling a punched tape. A POLICEMAN approaches and leans over to read the tape. POLICEMAN Three. one. four. CLOSE - the machine with the punched tape emerging. POLICEMAN -LRB- o.s. -RRB- Three, one, four. CLOSE - a filing cabinet. A hand flicks through some cards and takes one out. ANOTHER POLICEMAN Three, one, four.", "INT. OFFICE BUILDING - NIGHT IN THE ATTIC - The PICK - POCKET bursts in to warn the men searching there. He shouts something incomprehensible. A CROOK Are you crazy? General hubbub. PICK-POCKET Yes, the cops'll be here any minute. The watchman gave the alarm. CROOK Let's get out of here! They make for the door. SCHRAENKER -LRB- o.s. -RRB- Stop! Quiet! SCHRAENKER approaches. SCHRAENKER We've five minutes more and six more compartments to search. Carry on. Get on with it. Only hurry! Come on, now! The CROOKS start work again. One of them fiddles with the lock on a door. SCHRAENKER pushes him aside. SCHRAENKER Out of the way. You ca n't do it like that. He CRASHES against the door with all his weight to break it open. IN ONE OF THE COMPARTMENTS, the MURDERER hides, weak with fear. Light feebly penetrates a skylight behind him. The sound of doors being forced open comes gradually closer. VOICE -LRB- o.s. -RRB- He's not in here. SCHRAENKER -LRB- o.s. -RRB- Next door! NOISE of splintering wood and tearing hinges. SCHRAENKER -LRB- o.s. -RRB- Come on. Quicker. The NOISE draws nearer and the MURDERER ducks down further and further into his corner. VOICE -LRB- o.s. -RRB- Not here either. SCHRAENKER -LRB- o.s. -RRB- Come on. Keep it up! Next door. As we hear the noise of another breaking door, the MURDERER disappears completely behind the bric - a - brac. Only his hat is visible. SCHRAENKER -LRB- o.s. -RRB- Quick. We've only three minutes left. VOICE -LRB- o.s. -RRB- Hurry up. Quickly! SEVERAL VOICES -LRB- o.s. -RRB- This one has n't got a padlock. he must be here. go on, open it. it's locked from the inside. let me do it! SCHRAENKER -LRB- o.s. -RRB- Hurry up. Only one minute left! Deafening NOISE as the door is forced down and furniture crashes to the floor. Panic - stricken, the MURDERER leaps to his feet, spot - lit by a powerful flashlight beam, his face grotesquely twisted with fear. Backing away, he stumbles against a grandfather clock. VOICE -LRB- o.s. -RRB- Here he is. here he is. the bastard!", "EXT. THE COURTYARD - NIGHT A parked car in the street behind the gates which are still pulled back. The SAFE - BREAKER, on guard by the opening, checks on the men as they stream silently through, loaded with equipment which they throw into the car before slipping out of sight down the street. SAFE-BREAKER Get going. Hurry up! -LRB- whistles through his fingers. -RRB- Everybody out! The CON - MAN runs past, pulling his overcoat on over a WATCHMAN'S jacket. The SAFE - BREAKER pushes him outside. SAFE-BREAKER Go on! Move! Other crooks pass through. SAFE-BREAKER Come on, hurry up. Quick! The CON - MAN goes back inside. CON-MAN Christ! Get out while you can, you fool! The CON - MAN makes for the door as the SAFE - BREAKER runs past the WATCHMEN'S OFFICE. A few stragglers come out of the building. SAFE-BREAKER Anybody left? CROOK A few up top. they're on their way. SAFE-BREAKER No reason for you to wait for them. With or without the guy, it does n't matter, get away. He throws up his arms in despair. SAFE-BREAKER What are they up to, for Christ's sake. He goes back into the building. SAFE-BREAKER At last. Thank God! A final group leaves the building and the SAFE - BREAKER follows them. Two men carry the MURDERER down the steps, tied up and struggling inside a carpet. SCHRAENKER, still in his policeman's uniform, and the SAFE - BREAKER are the last to leave. An ominous silence.", "INT. OFFICE BUILDING - NIGHT A few minutes later. IN THE WATCHMEN'S OFFICE, the FIRST WATCHMAN lies unconscious, wrists handcuffed together. The two other watchmen, slumped together in a corner, lie tied up and unconscious. HIGH ANGLE - SECOND FLOOR A flashlight beam sweeps across the floor of the room below and rises towards the hole in the ceiling. BURGLAR -LRB- o.s. -RRB- Hey! He's not down here. No reply. BURGLAR -LRB- o.s. -RRB- Oh! Who's pulled up the ladder? The BURGLAR'S face comes into view, looking up from below. BURGLAR Who's pulled up the ladder? Someone throws the ladder down into the hole. BURGLAR -LRB- irritably. -RRB- Bunch of morons. As his head and shoulders emerge from the hole, a flashlight clicks on and shines straight into his face. BURGLAR Hello. A second flashlight lights him up. A VOICE Hands up. BURGLAR -LRB- curtly. -RRB- How can I put my hands up when I'm trying to hang onto the ladder? THE VOICE Out of there. PULL BACK as the BURGLAR climbs out of the hole, sits on the edge, and raises his hands. PULL FURTHER BACK to reveal that he's surrounded by policemen. BURGLAR -LRB- jokingly. -RRB- For once I'm innocent.", "INT. INSPECTOR GROEBER'S OFFICE - NIGHT The voice continues. BURGLAR as a new born babe. The BURGLAR sits by INSPECTOR GROEBER'S desk. A lamp shines into his face. GROEBER is a distinguished, well - groomed man of about fifty. Behind them sits a secretary, a little old man who looks over the top of his spectacles at the BURGLAR with mild surprise and then over to GROEBER. GROEBER cuts a cigar and, from behind the lamp, leans towards the BURGLAR. GROEBER This will surprise you, Franz, but I believe you. BURGLAR -LRB- not altogether reassured. -RRB- Hmmm. -LRB- laughs nervously. -RRB- Then everything is in order, Inspector. -LRB- gets up. -RRB- I can leave then. GROEBER'S hand comes into shot and gestures to him to sit down. GROEBER One minute! GROEBER picks up a packet of cigarettes and offers them to the BURGLAR. GROEBER -LRB- o.s. -RRB- Cigarette? BURGLAR Oh, boy. Crestfallen, the BURGLAR slumps back into his chair and takes a cigarette. GROEBER I'll take your word for it. GROEBER leans back, rocking his chair. GROEBER -LRB- o.s. -RRB- On condition you tell me. He pauses. The BURGLAR waits, holding an unlit cigarette in one hand and a burning match in the other. GROEBER who the man was you were looking for. and found in the building. On these last words, he lets himself fall forward, while the BURGLAR puts out the match and lays the cigarette on the table, feigning surprise. BURGLAR I do n't understand, Inspector. A man, you said? No, I do n't know anything about that, Inspector. There must be some mistake. I do n't know anything. Nothing at all. GROEBER Of course. -LRB- slyly. -RRB- Only I do n't understand why you are covering up for the gang who left you in the lurch. GROEBER relights his cigar. GROEBER Funny friends! Leaving you right in it and running off. Bah! BURGLAR -LRB- smiling maliciously. -RRB- That wo n't wash with me, Inspector. GROEBER takes some notes. The SECRETARY takes the opportunity to sharpen some pencils. The BURGLAR looks around worriedly. He tries to read what GROEBER is writing but ca n't make it out. BURGLAR After all. Not very sure of himself, the BURGLAR pauses ; then, after a moment, he begins again. BURGLAR After all, I'm not risking very much. INSERT of the hole in the office floor. BURGLAR -LRB- o.s. -RRB- Maybe a little bit of damage. But nothing was stolen. RESUME SCENE GROEBER Of course, something was stolen. In fact a good deal. The BURGLAR leans forward, surprised. BURGLAR What? He is rising to the bait. BURGLAR Stolen? How much? GROEBER If you talk, I'll tell you. BURGLAR I've already told you. I do n't know anything. GROEBER All right. He gets up. GROEBER Well, think about it. It's amazing what one remembers. -LRB- turning on the ceiling light. -RRB-. when one's left alone for an hour or two. A door opens. GROEBER Take him away. Someone places a hand on the BURGLAR'S shoulder. He rises and leaves the room. We TRACK IN on GROEBER, who watches him go thoughtfully. GROEBER -LRB- to the SECRETARY. -RRB- Get the night watchman sent in. He sits down and opens a dossier. SECRETARY -LRB- o.s. -RRB- Get the night watchman, Damowitz. GROEBER raises his eyes and looks towards the door. We FOLLOW his look : the SECRETARY shows the WATCHMAN in. GROEBER -LRB- o.s. -RRB- Sit down. The WATCHMAN sits in the chair in front of the desk. GROEBER continues to study the dossier. GROEBER Now then, you said in your statement. He raises his eyes to the WATCHMAN. GROEBER Listen carefully. The SECRETARY'S hand turns off the light on the desk and picks up a pencil. GROEBER you may have to repeat it under oath. He reads from the dossier. GROEBER that you clearly heard. The WATCHMAN'S right cheek is swollen. GROEBER that one of the burglars said to another : ` We've found him.' The WATCHMAN nods his head, winces with pain, and holds his cheek. GROEBER. I've discovered the guy. He is in the attic.' Is that correct? WATCHMAN Yes, Inspector. ooooh. -LRB- grimaces with pain. -RRB- Yes, Inspector. I'd swear to that whenever you wish. GROEBER closes the dossier. GROEBER Right. You may go home and rest now. But please keep yourself at the disposal of the police. The WATCHMAN gets up. WATCHMAN Of course, Inspector. oooh. -LRB- painfully. -RRB- Good day, Inspector. He goes out, holding his jaw. GROEBER Good day. GROEBER remains for a moment, deep in thought. We TRACK IN as he picks up the telephone. GROEBER -LRB- into the phone. -RRB- Tell me, is Inspector Lohmann in the building? Oh, good. He's talking to somebody? No, it does n't matter. I'll come up.", "INT. LOHMANN'S OFFICE - NIGHT LOHMANN sits at his desk smoking a cigar, framed against the large map of the city on the wall behind him. Now he is in shirt - sleeves, his collar open and tie loosened, and he looks tired and harassed. He is on the telephone, and with one hand pours out coffee from an enamel coffee pot. LOHMANN -LRB- into the phone. -RRB- What? Good. Has n't come in yet. You're watching the old girl, that Mrs. Winkler, eh? A KNOCK on the door. LOHMANN Come in. NEW ANGLE - LOHMANN sits in his chair. From this angle, the size of his stomach is enormously exaggerated and we can see that his trousers are unbuttoned at the waist ; chewing at his cigar, he hangs up. LOHMANN Hell! GROEBER enters, a dossier under his arm, and sits on the edge of the desk. LOHMANN adds some milk to his coffee from a carton. LOHMANN What do you want? GROEBER I wanted to ask you. LOHMANN drinks his coffee. GROEBER a favor. LOHMANN -LRB- drinking. -RRB- Ugh. what muck. GROEBER I wanted to ask you. GROEBER places the dossier on the table. GROEBER Anyway, read a bit of that. LOHMANN takes a bite from a biscuit and picks up the dossier, marked REPORTS. LOHMANN Reports? GROEBER Yeah. LOHMANN opens the dossier. The first typewritten sheet carries the date 25th November, 1930. GROEBER -LRB- o.s. -RRB- Burglary in an office block. The page is turned. POLICE STATION The ticker - tape machine and the punched tape. THE OFFICE BUILDING A map of the office building at Bennastrasse 29 - 33 and Ostend - allee 114 - 117. LOHMANN -LRB- o.s. -RRB- Bennastrasse? CLOSER - OFFICE BUILDING The main entrance of the building with gates half - open and the WATCHMEN'S office illuminated. LOHMANN -LRB- o.s. -RRB- That's a very quiet neighborhood. THE WATCHMAN'S OFFICE The WATCHMAN lies unconscious on the floor of his office. LOHMANN -LRB- o.s. -RRB- Perhaps it's not as quiet as all that. THE WATCHMAN'S OFFICE The other bound watchmen lie in the corner. LOHMANN -LRB- o.s. -RRB- Hell, this is getting serious. AN OPEN WOODEN DOOR On the landing, with the lock sawed out of it. ANOTHER DOOR Also forced. THE DOSSIER In LOHMANN'S hands. Another page is turned. ANOTHER DOOR A drill still sticks in a hole and all around the lock there is a circle of holes. LOHMANN -LRB- o.s. -RRB- Did they intend to empty the whole place, then? THE BASEMENT The door to the coal - hole has been smashed. LOHMANN -LRB- o.s., amazed. -RRB- What can they have been looking for in the coal? THE BOILER ROOM As seen through a shattered door. LOHMANN -LRB- o.s. -RRB- Look at that. It's incredible. THE DOSSIER In LOHMANN'S hands. Another page is turned. THE ATTIC The door of every compartment has been forced. LOHMANN -LRB- o.s. -RRB- Good Lord. REAR OF ATTIC The last few doors are completely smashed to pieces. LOHMANN -LRB- o.s., clicks his tongue. -RRB- This is madness! ATTIC COMPARTMENT All the furniture turned upside down. CLOSE - HOLE IN THE CEILING On the second floor, with the rope ladder and the abandoned drill. LOHMANN -LRB- o.s. -RRB- Ah, now it makes sense. They were after the safe. CLOSE - AN OLD SAFE Untouched. LOHMANN -LRB- o.s. -RRB- Good God. What's that all about? CLOSE - ANOTHER SAFE Also unharmed. LOHMANN -LRB- o.s. -RRB- I do n't understand it at all. CLOSE - ANOTHER SAFE Also intact. LOHMANN -LRB- o.s. -RRB- They have n't even attacked that one. Were they all crazy or something? THE DOSSIER The last pages turn. RESUME - LOHMANN'S OFFICE LOHMANN and GROEBER at LOHMANN'S desk. LOHMANN -LRB- lifts his head. -RRB- Well, I'll be damned! GROEBER Well, what have you got to say? Nothing stolen, but a man was taken away. God knows where. LOHMANN Fantastic! LOHMANN puts his cigar - holder down on a plate and prepares another cigar. GROEBER And Franz - the burglar we arrested - is n't talking. Frightened evidently. Actually I know him well. he's one of those burglars who would rather jump from the fifth floor than get mixed up in a murder. LOHMANN finishes cutting his cigar and starts to suck it. GROEBER If we could. set a trap for him. A huge smile spreads across LOHMANN'S face. GROEBER Could you help me out, Lohmann? LOHMANN -LRB- raising his cigar. -RRB- I see what you are getting at. well then, let's take a look at this Franz.", "INT. PRISON CELL - NIGHT The BURGLAR stretches out on a bed, his legs in the foreground. The cell door opens and a DETECTIVE appears. DETECTIVE For questioning. FADE OUT", "INT. LOHMANN'S OFFICE - NIGHT FADE IN on the BURGLAR examining a plaque on the wall. The DETECTIVE who brought him in stands in the background. CLOSE - THE PLAQUE It's a list of the members of the Homicide Department, with names, addresses and telephone numbers. Under ` Head of Department,' we can read : ` Karl Lohmann.' followed by an address and telephone number. WIDER The BURGLAR stares at the list. BURGLAR -LRB- unhappily. -RRB- Inspector Karl Lohmann. A door opens. The BURGLAR turns. LOHMANN has come in, hands in pockets, sucking a cigar. The BURGLAR moves towards him. BURGLAR -LRB- frightened. -RRB- What do you want with me? What does Homicide want with me? After a moment, LOHMANN stops in front of the BURGLAR. LOHMANN Yes. your case has been passed over to me now. The BURGLAR, very worried, wrings his hands. LOHMANN stands in front of him. BURGLAR But. but why? What for? LOHMANN You did your work a little too well. The BURGLAR nervously unbuttons his collar. BURGLAR -LRB- in a choked voice. -RRB- Yes? LOHMANN -LRB- meaningfully. -RRB- One of the watchmen. INSERT - DAMOWITZ, THE WATCHMAN He sits at a table, in his home, an enormous plate of sausage and cabbage in front of him. He drinks some beer, wipes his moustache and digs into another sausage. RESUME on LOHMANN and the BURGLAR in LOHMANN'S OFFICE. BURGLAR -LRB- in a choked voice. -RRB- Dead? LOHMANN paces round his office. LOHMANN Planning and assisting with a murder. That's a bad scene, Franz. BURGLAR -LRB- choking. -RRB- I ca n't go on with it. I do n't want to have anything to do with that. LOHMANN picks up a dossier and flicks through it. BURGLAR -LRB- breaks down. -RRB- I'll tell you everything. everything I know. LOHMANN -LRB- casually. -RRB- Very wise, but unfortunately too late. The BURGLAR moves nearer and pleads with LOHMANN who turns his back on him. BURGLAR Inspector, it ca n't be too late. please, Inspector. But, it is n't possible. Listen, I'm going to tell you everything. everything. Even who we were looking for in that damn building. LOHMANN straightens up, triumphant and interested, but does not turn around. LOHMANN Well, then. BURGLAR The murderer. the child murderer. LOHMANN'S mouth drops open in amazement, and his cigar falls out onto the table. A pause. Dumbfounded, LOHMANN, without thinking, raises a shaky hand to remove the cigar from his lips. He looks confused for a moment, but quickly recovers his composure and picks it up from the dossier where it had fallen. LOHMANN -LRB- dawning realization. -RRB- What? What? Who? BURGLAR -LRB- distraught. -RRB- The child murderer, Inspector. LOHMANN puffs out a great cloud of cigar smoke which completely obscures his face. He strides across the room flapping a hand to disperse the smoke - screen around him. LOHMANN Wait a minute. LOHMANN quickly exits out a door which he closes behind him. NEW ANGLE - LOHMANN'S PRIVATE BATHROOM LOHMANN leans against the basin and puts his head under the cold tap. RESUME on LOHMANN'S OFFICE The BURGLAR waits in total despair. BURGLAR -LRB- sighs, to himself. -RRB- This had to happen to me! Of all people. A door opens behind him. He turns. LOHMANN comes back in, looking happy and satisfied. He has his jacket on and, rubbing his hands, sits down behind his desk. After a moment, LOHMANN takes out a cigar and cuts it, with a pair of scissors. LOHMANN Right. Now, we're going to have a little talk. BURGLAR -LRB- hopelessly. -RRB- If you want to, Inspector. LOHMANN And, mind you, do n't lie. -LRB- beat. -RRB- Okay, let's start. What have you got to do with the murderer and where have you taken him? BURGLAR Well now, Inspector, you know the old.", "EXT. FACTORY - DAY The battered fassade of an empty factory, almost a ruin. BURGLAR -LRB- o.s. -RRB- distillery of Kuntz and Levy. A CORNER OF THE BUILDING LOHMANN -LRB- o.s. -RRB- The one that went bankrupt?", "INT. FACTORY - DAY WORKSHOP In the gloom of an abandoned workshop inside the factory is a shadowy staircase. In the distance, inarticulate cries gradually draw nearer. TWO MEN come down the steps and disappear into the gloom. MURDERER -LRB- o.s. -RRB- What do you want with me? Let me go. let me go! A VOICE -LRB- roughly. -RRB- Go on. keep moving. go on. The TWO MEN reappear, pushing the MURDERER up the stairway. He struggles furiously although his jacket has been pulled over his head. At the top of the steps, a third MAN comes to open a door for them. MURDERER -LRB- struggling. -RRB- I've done nothing to you. Let me go, you swine. ANOTHER FLIGHT OF STEPS An iron door is flung open. A foot appears on the top step, but no one appears for a moment as there is obviously a scuffle going on at the top of the stairs. The third MAN enters and stands on the steps. MURDERER -LRB- o.s. -RRB- Let me go. The two others push the MURDERER down the steps. MURDERER Bastards! The MURDERER has fallen to the bottom of the steps. MURDERER Bunch of bastards! One of the men exits, closing the iron door behind him as he goes. The remaining two men stand on the top of the steps and look down at the MURDERER as he drags his coat off his head. MURDERER What do you want with me? Bastards! What do you want? He turns and stops dead in his tracks. WIDE - HUGE FACTORY CELLAR - MURDERER'S POV Assorted members of the underworld stare at him. We PAN ALONG the entire length of the cellar to reveal that a vast crowd has assembled - crooks and their wives, whores, pimps, and beggars - most of them standing, with the older members seated on boxes and crates. There is absolute silence and no one moves. PAN continues until it reaches a trestle table set up in front of them. Behind it sit the PICK - POCKET, the CON - MAN and the SAFE - BREAKER, on either side of SCHRAENKER - obviously a crude form of tribunal and, as usual, SCHRAENKER is in charge. MURDERER -LRB- o.s. -RRB- Help! RESUME ON MURDERER. and the two men on the stairs. MURDERER Help! Let me go. I want to get out. He tries to climb up a few steps. MURDERER I want to get out. Get out. WIDE - CELLAR A general view of the tribunal, lit only by a single bulb hanging from the ceiling. MURDERER -LRB- o.s. -RRB- Let me out! SCHRAENKER -LRB- firmly. -RRB- You will not get out of here. The two men on the staircase block the MURDERER'S way. He turns back to face the crowd. MURDERER But gentlemen. His hair falling over his face, he comes down the stairs. MURDERER -LRB- appeals to them. -RRB- Please, I do n't even know what you want me for. He takes a few hesitant paces forward. MURDERER I beg you. Set me free. There must be some mistake. A hand reaches above the MURDERER'S head, feeling around in the air. MURDERER A mist - The hand falls on the MURDERER'S shoulder. The MURDERER'S voice breaks off. BLIND BEGGAR -LRB- o.s. -RRB- No. No. No mistake. Impossible. There's no mistake. PULL BACK to show the MURDERER and the BLIND BEGGAR. The MURDERER turns towards him. The BLIND BEGGAR withdraws his hand. BLIND BEGGAR No, no mistake. MURDERER But. what do you mean? We PULL FURTHER BACK so that the BLIND BEGGAR'S other arm comes into view. He holds a doll - shaped balloon. He shows it to the MURDERER. BLIND BEGGAR Do you recognize it? It is a balloon like the one you gave to little Elsie Beckmann. The MURDERER stiffens with fear at the mention of that name. The BLIND BEGGAR holds the string of the balloon and lets it rise up as far as the string will go. HIGH ANGLE The MURDERER follows the balloon's ascent with horrified eyes. It sways gently very close to the camera. The faces of the crowd are a confused blur in the background. BLIND BEGGAR -LRB- o.s. -RRB- A balloon like that. MURDERER -LRB- gibbering. -RRB- El. El. Elsie. El. Elsie. He backs away, terrified by the balloon, until he stumbles against the table. The MURDERER'S voice grows more and more high - pitched : MURDERER No, no, no. NEW ANGLES - The MURDERER, near the table. SCHRAENKER -LRB- o.s. -RRB- Where did you. On SCHRAENKER'S first words, the MURDERER turns to a threatening SCHRAENKER who has a photograph in front of him on the table of a little girl. SCHRAENKER -LRB- leaning forward ominously. -RRB-. bury little Martha? Behind the MURDERER, we see the BLIND BEGGAR and the staircase guarded by the two men. As one of the men leads the BLIND BEGGAR away, the MURDERER walks toward SCHRAENKER, pleading. MURDERER But. but I never. I never even knew her. SCHRAENKER -LRB- sarcastically. -RRB- Oh yes, very good. You did n't even know her. SCHRAENKER waves another photograph. SCHRAENKER And what about this one? The MURDERER backs away, now helpless with fright. SCHRAENKER -LRB- o.s. -RRB- And this one? The MURDERER chews at his fingers. SCHRAENKER'S gloved hand shows a third photograph. We recognize ELSIE'S face. SCHRAENKER -LRB- o.s. -RRB- and this one, you did n't know this one either, eh? The MURDERER is now crazy with fright. Panic - stricken, he spins around in a mad dash for the exit. One of the men who brought him in sits at the foot of the stairs ; he jumps up to bar the way as the crowd begin to jump up and SHOUT hysterically. VOICES Stop him. Stop him. do n't let him escape! The crowd surges forward. Only SCHRAENKER remains calmly seated. VOICES Stop him. he ca n't get away! The MURDERER rushes the crook on the stairs, pushing him violently out of the way, and then climbs desperately towards the iron door. VOICES Quick, stop him. Hold him. Look out. the door! At the top of the stairs, the MURDERER tries to open the door but a crook grabs him by the collar. A VOICE Hold him. hang onto him. The MURDERER hangs onto the door handle with both hands. The crook holds him from behind. Two others come to his aid. A VOICE Go on. Go on. Hit him. Belt him! CLOSE - the MURDERER'S convulsed face. A hand seizes him by the throat. MURDERER -LRB- in a strangled voice. -RRB- Let me go. Let me go! -LRB- almost in tears. -RRB- You have no right to treat me like this! VOICES We'll show you what right we have! WIDER - The three men try to make the MURDERER loosen his grip. A fourth crook comes up the stairs to help them. One of them kicks him on the shins. The general shouting gets louder as more people crowd on the steps. CLOSE - The crook kicks the MURDERER. The MURDERER'S hand still grasps the iron door's handle. A VOICE Go on. on his shins. CLOSE - The MURDERER receives another violent kick in the shins. WIDER - the struggle at the door. A crook tries to hit the MURDERER'S hands. VOICES Heave. ho. Heave. ho. CLOSE - the crook's fist violently striking the MURDERER'S fingers. The shock makes him let go. WIDER - the group draws back from the MURDERER and throws him down the stairs. The MURDERER falls heavily to the ground, banging his head sharply against some old timbers lying against a wooden barrier. He lies twisting with pain while the crowd CHEERS and HOOTS triumphantly. MURDERER -LRB- groaning. -RRB- You have no right to hold me here. A prostitute gets up furiously. PROSTITUTE -LRB- screaming fanatically. -RRB- Right? Someone like you does n't have any rights! -LRB- roaring. -RRB- Kill him! A MAN -LRB- next to her, rising. -RRB- Yes, kill him! PROSTITUTE Crush him like a mad dog! The crowd grows very animated. A VOICE Crush him! SCHRAENKER turns impatiently to the crowd. SCHRAENKER Quiet! A VOICE Kill him! Kill him! SCHRAENKER -LRB- shouts. -RRB- Shut up! An imperious gesture from SCHRAENKER and the crowd calms down. When the noise dies down completely, he turns towards the MURDERER. SCHRAENKER You talk of rights. You will get your rights. PAN ACROSS the attentive faces of the crowd, as SCHRAENKER continues : SCHRAENKER -LRB- o.s. -RRB- We are all law experts here, from six weeks in Tegel, to fifteen years in Brandenburg. SCHRAENKER gestures to the crowd. SCHRAENKER You will get your rights. you will even have a lawyer. -LRB- ironically. -RRB- Everything will be done according to the rule of law. The MURDERER crouches against the wooden barrier like a toad. MURDERER -LRB- screaming. -RRB- A lawyer? A lawyer! I do n't need a lawyer. Who is accusing me? You, maybe? You? A hand reaches down and taps him on the shoulder. The MURDERER turns around. A fairly old, ill - shaven man leans towards him across a wooden barrier. He is the LAWYER. In front of him, on a chest, a pile of Criminal and Civil law books. LAWYER Eh. just a moment. If I were you, sir, I'd keep quiet. Your life's at stake. in case you did n't know. The MURDERER rises and leans towards the LAWYER seated behind his chest. He stares at him in amazement. MURDERER And who are you? LAWYER -LRB- greets him with a wave of his hat. -RRB- I have the dubious honor of being your defense counsel. But I am afraid it wo n't be much use to you. The LAWYER superciliously blows some dust from his notebook. MURDERER -LRB- to the LAWYER. -RRB- But. but. do you want to kill me then? -LRB- horrified. -RRB- Murder me, just like that! SCHRAENKER We just want to render you harmless. That's what we want. but you'll only be harmless when you're dead. MURDERER -LRB- begging. -RRB- But, if you kill me, it'll be cold - blooded murder! Derisive LAUGHTER echoes around the cellar. The LAWYER sighs and shakes his head sadly. MURDERER I demand that you hand me over to the police. The LAUGHTER increases. The MURDERER raises his voice. MURDERER I demand to be handed over to the jurisdiction of the common law! Loud LAUGHTER from the crowd. SCHRAENKER and the CON - MAN watch, unconcerned ; behind them, the crowd rocks with LAUGHTER. A VOICE Quite a performance. That's not bad, that, ha, ha, ha! SCHRAENKER -LRB- to the MURDERER. -RRB- That would suit you, would n't it? CON-MAN -LRB- ironic. -RRB- Anything else you'd like? SCHRAENKER So that you can invoke paragraph fifty - one. A VOICE That's it. SCHRAENKER And spend the rest of your life in an institution at the state's expense. And then you'd escape. or else there'd be a pardon and there you are, free as air, with a pass, protected by the law because of mental illness. Off again chasing little girls. The crowd LAUGHS. SCHRAENKER No, no. Very dry. We're not going to let that happen. A VOICE -LRB- echoing. -RRB- No, no, no. SCHRAENKER We must make you powerless. You must disappear. A VOICE Bravo. he must disappear. The MURDERER sobs with fear. MURDERER But - I ca n't help what I do! He falls to his knees and miserably hides his face in his hands. MURDERER I ca n't help it. I ca n't. I ca n't. I ca n't help it. In the front row of the crowd, a crook rises to his feet and waves dismissively. CROOK -LRB- with contempt. -RRB- The old story. A long pause as the MURDERER, on his knees, helplessly lowers his hands. MURDERER -LRB- in complete despair. -RRB- What do you know about it? What are you saying? If it comes to that, who are you? What right have you to speak? He turns his head to look at them all. MURDERER Who are you? All of you? Criminals! Perhaps you're even proud of yourselves? Proud of being able to break safes, to climb into buildings or cheat at cards. Things you could just as well keep your fingers off. You would n't need to do all that if you had learnt a proper trade. or if you worked. If you were n't a bunch of lazy bastards. But I. His hands clutch at his chest. MURDERER I ca n't help myself! I have n't any control over this evil thing that's inside me - the fire, the voices, the torment. A skeptical SCHRAENKER sits at the table ; behind him the crowd listens intently. SCHRAENKER You mean to say you have to murder? MURDERER -LRB- agonized. -RRB- Always. always, there's this evil force inside me. It's there all the time, driving me out to wander through the streets. following me. silently, but I can feel it there. it's me, pursuing myself, because. An old man in the crowd nods thoughtfully, moved by the MURDERER'S genuine anguish. MURDERER I want to escape. to escape from myself! Two other crooks. One of them seems very moved. MURDERER but it's impossible. I ca n't. I ca n't escape. -LRB- panting. -RRB- I have to obey it. I have to run. run. streets. endless streets. I want to escape. I want to get away. Two prostitutes, one of them nervously twisting a handkerchief. MURDERER And I am pursued by ghosts. Ghosts of mothers. And of those children. They never leave me. -LRB- shouts desperately. -RRB- They are there, there, always, always! Always. except! -LRB- lowers his voice. -RRB-. except when I do it. when I. He raises his hands towards his neck, as though he were about to strangle a victim, then he lets them fall limp at his sides. He shakes his head. MURDERER Then I ca n't remember anything. And afterwards I see those posters and I read what I've done. I read. and. and read. Did I do that? But I ca n't remember anything about it. But who will believe me? Who knows what it feels like to be me? How I'm forced to act. How I must. Do n't want to, but must. Must. Do n't want to. must. And then. a voice screams. I ca n't bear to hear it. He puts his head against the wooden barrier in a paroxysm, covering his ears with his hands. MURDERER -LRB- at the height of his fit. -RRB- I ca n't. I ca n't go on. Ca n't go on. Ca n't go on. Ca n't go on. SCHRAENKER and the SAFE - BREAKER sit, the crowd behind them. SCHRAENKER rises to his feet as the MURDERER'S voice dies away. MURDERER I ca n't go on. SCHRAENKER -LRB- to the crowd. -RRB- The accused has said that he can not help himself. That is to say : he has to murder. As this is the case, he has pronounced his own death sentence. VOICES Hurrah. that's true. Hurrah. SCHRAENKER Someone who admits to being a compulsive murderer should be snuffed out. Like a candle. A VOICE Hurrah. SCHRAENKER -LRB- louder. -RRB- This man must be wiped out, eliminated. APPLAUSE and SHOUTS. The MURDERER, on his knees, rubs his head against the barrier, his hands still over his ears. The NOISE continues. Behind SCHRAENKER and the SAFE - BREAKER, the crowd is in a frenzy. VARIOUS VOICES Hurrah. Perfect, just what I think. Hurrah! The LAWYER gets up. Beside him, the MURDERER cringes. LAWYER I wish to speak. SCHRAENKER -LRB- o.s. -RRB- The defense lawyer will speak. The crowd quiets down. LAWYER -LRB- ironically, off SCHRAENKER. -RRB- Our very honorable President who is, I believe, wanted by the police for three murders. SCHRAENKER -LRB- very angry. -RRB- That's got nothing to do with it! LAWYER -LRB- continuing. -RRB-. claims that because my client acts under an irresistible impulse, he is condemned to death. A VOICE That's exactly it. Yes. He's right. LAWYER -LRB- shakes his head. -RRB- He is mistaken. because it is that very fact that clears my client. Members of the crowd look puzzled : a one - eyed crook, a prostitute, an older man who looks like a wrestler. THE ONE-EYED CROOK Hey, just a moment, that's enough. Other faces in the crowd look on sternly. In the foreground sits a crook with a moustache, a hat and a bow - tie. CROOK Are you mad, you drunken old sot? LAWYER It is this very fact of obsession which makes my client not responsible. And nobody can be punished for something which he is not responsible for. WHISTLES and CAT - CALLS. VOICE That's ridiculous. PROSTITUTE -LRB- furious, jumps to her feet. -RRB- Do you want to suggest by any chance that this brute should get off? A CROOK -LRB- bitterly. -RRB- That he should stay alive? LAWYER I mean that this man is sick. And a sick man should be handed over, not to the executioner, but to the doctor. SAFE-BREAKER Could you guarantee he'd be cured? LAWYER What use are asylums, then? CON-MAN And what would happen if he escaped? SCHRAENKER Yes. or if they released him as harmless? And what if the compulsion to kill returns? Yet another man - hunt for several months. Paragraph fifty - one again. Into the asylum again and then another escape or release. And then the compulsion all over again. And so on and so on till doomsday! LAWYER No one has the right to kill a man who is not responsible for his actions. Not the state, and certainly not you. The state must take care that this man becomes harmless and ceases to be a danger to his fellow citizens. During this plea, the crowd becomes excited and they begin to SHOUT and BAWL at the top of their voices. His last words are almost lost in the general LAUGHTER. A PROSTITUTE gets up. PROSTITUTE You've never had children, eh? So you have n't lost any either. But if you want to know what it's like to lose one of your kids. Another woman tries to calm her. PROSTITUTE then go and ask the parents of those children he got at. Amid the different groups of onlookers, an enormous thug listens, close to tears. PROSTITUTE Ask them what those days and nights were like when they did n't know for sure what was up. and about the ones when they finally knew what happened. -LRB- screaming. -RRB- Ask the mothers! The MURDERER still crouches against the barrier, his hands over his ears. A WOMAN She's right! The MURDERER crouches ever lower. PROSTITUTE Ask the mothers! VOICES Yes, the mothers. the mothers. ask them. Do you think they'll have mercy on a child - murderer? In the crowd, the fever rises. A CROOK She's right. ANOTHER And how. PROSTITUTE No mercy. No pardon. A CROOK Give him to us, the murderer. 2ND CROOK Kill him, the monster. A PROSTITUTE in the front row screams her rage. Behind her, a crook in a cap is also worked up. YOUNG PROSTITUTE Crush him, the brute. MAN -LRB- simultaneous. -RRB- Kill him. WRESTLER Bleed the beast. ONE-EYED CROOK Hang him. A VOICE Beat him down. A LITTLE MAN Kill him. ANOTHER Kill him. The whole furious mob rages on. VOICES To the gallows. Finish him. Kill him. Kill him LAWYER All that shouting wo n't silence me! The noise dies down. The crowd waits, but not appeased. LAWYER I will not allow a crime to be committed in my presence. I demand that this man. A VOICE -LRB- interrupting. -RRB- He is n't one! LAWYER -LRB- carries on. -RRB-. that this man be granted the protection of the law, which is everybody's right. A VOICE To hell with that. to hell with it. WHISTLES and SHOUTS from the crowd. LAWYER -LRB- very loud. -RRB- I demand that this man be handed over to the police. The crowd and the leaders of the tribunal are in uproar. A WOMAN -LRB- hysterically. -RRB- To the police! CON-MAN -LRB- furious. -RRB- Filthy stooge! The frenzy has reached its height. Everyone SHOUTS, WHISTLES and SCREAMS at the same time. From every side, crooks and prostitutes throw themselves towards the MURDERER. then, suddenly, everyone freezes, and all eyes fix on the iron door of the cellar. Shrill police WHISTLES and VOICES fill the air. VOICE Police. Hands up! Taken by surprise, the crooks and women all stand stock still - and slowly raise their hands. Only SCHRAENKER remains seated. He tips back his chair arrogantly. After casting a long look around the assembled crowd and seeing that there is no hope, he gets up abruptly and raises his hands. The MURDERER still crouches against the barrier. He rises slowly and looks in confusion at the frozen crowd before him. TRACK IN on him as a lawman's hand is placed firmly on his left shoulder. A VOICE In the name of the law. FADE OUT From the black screen, the voice of MRS. BECKMANN can be heard : MRS. BECKMANN -LRB- o.s. -RRB- We, too, should keep a closer watch on our children. A concluding burst of MUSIC -LRB- the last moments of `` In the Hall of the Mountain King'' -RRB- and we reach THE END" ]

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[ "INT. THE CHASEN'S DEN - DAY The CAMERA is at floor level. A young man enters but we see only his shoes and the cuffs of his pants. We TRACK with him as he walks across the room and stops at a record player. Pause. We HEAR a record drop and begin playing a light classical melody. The SUPERIMPOSED TITLES BEGIN. After a moment the feet move off and we TRACK with them, past a low table, and around a couch to the window curtains. The feet pause there for a moment. A piece of heavy window cord drops INTO FRAME. We FOLLOW as it is dragged along to the low table. Then the feet move over to a large ornate desk. The cord is pulled up OUT OF FRAME. Pause. The feet walk over to a chair by the wall. It is picked up, carried to the center of the room, and carefully placed. Pause. The feet get up onto the chair and the CAMERA RISES to their level. They shuffle about for a moment. At an appropriate musical break the CREDITS STOP. Suddenly the feet knock over the chair and drop into space. They kick about for a bit, then go slack and still. The FINAL CREDITS are SUPERED OVER the suspended appendages while the music comes to a lilting conclusion. As we HEAR the record player turn itself off, the CAMERA BEGINS a half circle tour around the hanging feet and stops at the heels. Pause. Outside we HEAR a woman's footsteps approaching and we change focus as the door to the den opens. Through the blurred hanging feet we see a tall, middle - aged, fashionably dressed woman enter and we PAN with her as she walks to the desk. This is MRS. CHASEN. She seems rather tired and preoccupied as she begins to remove her long white gloves. Slowly the CAMERA BEGINS a vertical rise up the side of the hanging corpse until we are watching Mrs. Chasen over his left shoulder. The rope and his stretched neck frame the right side of the SCREEN. We hold. Mrs. Chasen puts down her gloves and looks up. -LRB- NOTE : THE ABOVE IS ALL ONE CONTINUOUS SHOT. -RRB-", "INT. DEN - DAY CLOSEUP of Mrs. Chasen as she first sees the body. She is slightly startled.", "INT. DEN - MRS. CHASEN'S POV - DAY A long shot of the room where HAROLD, a young man of about twenty, hangs suspended from the ceiling with the curtain rope tied about his grotesquely broken neck.", "INT. DEN - MEDIUM SHOT - MRS. CHASEN - DAY She stares at the body for several beats and then with weary exasperation sits down at the desk and dials the telephone. As she waits for an answer, she looks up at the hanging body. MRS. CHASEN I suppose you think this is very funny, Harold. CLOSEUP HAROLD The rope chokes his throat ; his eyes bulge ; his tongue hangs out. MED. SHOT - MRS. CHASEN Her party answers and she speaks into the phone. MRS. CHASEN Hello. Fay, darling. Be a dear and cancel my appointment with Rene this afternoon. Yes, I know he'll be furious, but I've had the most trying day, and with guests coming this evening. Would you? Oh, that's sweet. Tell him I promise to be in Tuesday. for a rinse. Thank you, Fay. You're a darling. Yes. Yes. Bye. She replaces the receiver, stands up, takes her purse and gloves, and leaves the room, saying : MRS. CHASEN Dinner at eight, Harold. At the door she stops and turns. MRS. CHASEN And try to be a little more vivacious. CLOSEUP HAROLD Quick cut of his ashen face as we HEAR the door close.", "INT. DINING ROOM - NIGHT Mrs. Chasen is seated at the head of the table entertaining eight to ten guests. They are all in evening clothes and are laughing as Mrs. Chasen in a dress of white ostrich feathers continues a witty story. MRS. CHASEN Needless to say, the first time it happened I was absolutely abashed. I was so shook I needed three tranquilizers to calm me down. Well, you can imagine. Suicide notes all over the house - `` Goodbye,'' `` Farewell,'' `` Arrivederci.'' Other children pretend to run away from home, but Harold - he's so dramatic. Everyone laughs. The CAMERA BEGINS PULLING BACK and PANNING past the guests till we come to Harold sitting morosely at the other end of the table. He listlessly toys with his food as his mother continues. MRS. CHASEN Of course, Harold's father had a similar sense of the absurd. I remember once in Paris he stepped out for cigarettes and the next I hear he's arrested for floating nude down the Seine - experimenting in river currents with a pair of yellow rubber water wings. Well, that cost quite a little bit of `` enfluence'' and `` d'argent'' to hush up, I can tell you. Harold, dear, stop playing with your food. Do n't you feel well? HAROLD -LRB- looks up and pauses. -RRB- I have a sore throat. MRS. CHASEN Well, I want you to go to bed directly after dinner. You know how susceptible you are to colds. Harold has always been a delicate child. Even as a baby he seemed to be abnormally prone to illness - Harold, dear, eat up your beets. CLOSEUP - HAROLD He begins eating as his mother goes on. MRS. CHASEN -LRB- o.s. -RRB- I remember when we were in Tokyo I had to call my brother Victor at the embassy for a doctor. He was serving there as Army attaché. FADE OUT.", "INT. MRS. CHASEN'S BEDROOM - NIGHT Mrs. Chasen sitting before her vanity table, humming to herself as she readies herself for bed. She wears a night - gown, a cover for her hair, and she has just finished putting on several different face creams. She gets up, walks over to the bathroom, and opens the door. Blood is everywhere - on the walls, the floor, the mirror - and in the tub is Harold, his throat slit and his wrists dripping blood onto the razor on the tile floor. The effect is one of instant shock. Mrs. Chasen screams and backs up in horror. Sobbing hysterically, she clutches her robe about her and rushes from the room crying. MRS. CHASEN Oh! No! Oh! No! I ca n't stand it. My God! This is too much. This is too much to bear! The CAMERA WATCHES Mrs. Chasen run off and then swings back to Harold in the tub. CLOSEUP - HAROLD We hold on his wretched face as his mother's hysterical cries are heard in the background. Harold moves his head and listens. He breaks into a sly, satisfied grin.", "INT. PSYCHIATRIST'S OFFICE - DAY Harold is lying on a couch, perfectly relaxed. The PSYCHIATRIST, less so, is seated by him. PSYCHIATRIST Tell me, Harold, how many of these, eh, suicides have you performed? HAROLD -LRB- pause. -RRB- An accurate number would be difficult to gauge. PSYCHIATRIST And why is that? HAROLD Well, some worked out better than others - some had to be abandoned in the planning stages - do you include the first time? - then there's the question of maiming. PSYCHIATRIST Just give me a rough estimate. HAROLD Well, a rough estimate. I'd say fifteen. PSYCHIATRIST Fifteen. HAROLD A rough estimate. PSYCHIATRIST And were they all done for your mother's benefit? HAROLD -LRB- thoughtful pause. -RRB- I would n't say `` benefit.'' PSYCHIATRIST No, I suppose not. How do you feel about your mother? INSERT - STOCK A giant steel ball on a demolition crane crashes into a brick wall collapsing it with much noise and dust.", "EXT. THE CHASEN POOLSIDE - DAY Mrs. Chasen decked out in a fashionable black bikini, crazy glasses, and an enormous sun hat, walks down the garden steps to the pool. Over this and the end of the above we HEAR her voice. MRS. CHASEN -LRB- v.o. -RRB- Hello, Fay, darling. Be an absolute dear and cancel my appointment with Rene this afternoon. Oh, I know, but Wednesday morning would be so much more convenient. Oh, you are an angel. Yes. Yes. Bye. Mrs. Chasen has now reached the poolside. As she walks around it we PAN with her and discover Harold, fully clothed, floating face downward on the still surface. Mrs. Chasen does not see him and walks into the pool house.", "INT. POOL HOUSE - DAY Mrs. Chasen walks down the steps of the pool house and over to the bar. Behind the bar is an underwater viewing window into the pool. She stops and looks up through the window. MRS. CHASEN'S POV Through the window we see Harold, drowned and bug - eyed, floating on the surface. MED. SHOT - MRS. CHASEN Mrs. Chasen sighs, yanks a cord, and the venetian blinds come noisily down cutting off Harold from view.", "INT. PSYCHIATRIST'S OFFICE - DAY Harold is lying on the couch. HAROLD -LRB- a reasoned assessment. -RRB- I do n't think I'm getting through to Mother like I used to. PSYCHIATRIST Does that worry you? HAROLD -LRB- pause. -RRB- Yes. It does. PSYCHIATRIST Why? HAROLD I put a lot of effort into these things. PSYCHIATRIST Ah, yes. HAROLD And a lot of time. PSYCHIATRIST I'm sure. But what else do you do with your time? Do you go to school? HAROLD No. PSYCHIATRIST What about the draft? HAROLD My mother spoke to my Uncle Victor. He's in the Army and he fixed it up. PSYCHIATRIST Oh. Well, how do you spend your day? HAROLD You mean when I'm not working on a. PSYCHIATRIST Yes. What kind of things do you do?", "EXT. AUTOMOBILE JUNKYARD - DAY Cranes, auto smashers, bulldozers, and mountains of rusting cars and other junk. Very noisy and very fast cut. A little essay on destructive machinery at work with Harold looking on in rapture.", "INT. PSYCHIATRIST'S OFFICE - DAY PSYCHIATRIST I see. Junkyards. What is the fascination there? HAROLD I do n't know. PSYCHIATRIST Is it the machines? The noise? The people? HAROLD No. It's the junk. I like to look at junk. PSYCHIATRIST What else do you like? Harold pauses. INSERT - STOCK A giant steel ball crashes into a building. We watch it fall noisily into dust and rubble.", "INT. PSYCHIATRIST'S OFFICE - DAY PSYCHIATRIST That's very interesting, Harold, and I think very illuminative. There seems to be a definite pattern emerging. -LRB- taking copious notes. -RRB- Your fondness for useless machines and demolitions seems indicative of your present emotional state, your self - destructive urges and your alienation from the regular social interaction. What do you think? And of course this pattern once isolated can be coped with. Recognize the problem and you are half way on the road to its solution. But tell me, what do you do for fun? What activity gives you a different sense of enjoyment than the others? What do you find fulfilling? What gives you that certain satisfaction? HAROLD I go to funerals.", "EXT. CEMETERY - LONG SHOT - DAY showing a small group of mourners around a grave. A nearby bench by a tree is empty. The coffin is slowly being lowered into the ground.", "EXT. CEMETERY - DAY CLOSER SHOTS of the mourners sobbing and the priest pray - ing. We come to Harold who has a look of gentle fascina - tion. The service is concluding. Harold looks up across the grave. A hundred yards away on the cemetery bench sits an old woman eating a tangerine. This is MAUDE. Harold stares at her. She seems to be having some kind of happy picnic. She looks over towards him. He quickly returns his attention to the burial.", "EXT. CHASEN HOME - DAY Mrs. Chasen opens the front door and is saying farewell to two lady friends, the same kind of chic sophisticates as she is. Just then a hearse pulls into the driveway, passes them, and parks by the garage. The two women are somewhat stunned. Harold gets out of the hearse and goes into the backyard. The two women look to Mrs. Chasen for some explanation. Mrs. Chasen smiles lamely.", "INT. CHASEN'S DEN - DAY Mrs. Chasen is addressing a seated and mute Harold. MRS. CHASEN Why you purchased that monstrous thing is totally beyond me. You can have any car you want - a Porsche, a Jaguar, a nice little MG roadster - but that ugly, black horror is an eyesore and an embarrassment. Really, Harold, you are no longer a child. It's time for you to settle down and stop flitting away your talents on these amateur theatrics - your little `` divertissements'' - no matter how psychologically purging they may be. I do n't know what to do. INSERT - CLOSEUP OF UNCLE VICTOR - LEFT PROFILE UNCLE VICTOR I'd put him in the Army, Helen.", "INT. CHASEN'S DEN - DAY Mrs. Chasen continues. MRS. CHASEN Go have a talk with your Uncle Victor. Perhaps he can fathom you. After all, he was General Bradley's right hand man.", "INT. VICTOR'S OFFICE - DAY UNCLE VICTOR, a bluff, hearty, totally military man, is a one star general with an amputated right arm. Harold sits before him. UNCLE VICTOR Harold, your mother has briefed me on your situation and there is no doubt in my mind of the requisite necessary action. If it was up to me I'd process your file and ship you off to boot camp tomorrow. Your mother, however, is adamant. She does not want you in the Army and insists on my holding on to your draft records. But what do you say, Harold? -LRB- he begins a selling job. -RRB- It's a great life. Action! Adventure! Advising. See war - firsthand! Plenty of slant - eyed girls. It will make a man out of you, Harold. You'll travel the world. Put on the uniform and take on a man's job. Walk tall! - with a glint in your eye, a spring in your step, and the knowledge in your heart that you are -. -LRB- he gestures to a poster of bullet - blazing Marines. -RRB- - working for peace, and - are serving your country. He stops before a poster of Nathan Hale with a noose about his neck. UNCLE VICTOR -LRB- continuing. -RRB- Like Nathan Hale. That's what this country needs - more Nathan Hales. He pulls his lanyard, activating some weird mechanism which snaps up his empty sleeve into a natty salute. A pause. The sleeve smartly refolds and he turns to Harold. UNCLE VICTOR -LRB- softly. -RRB- And, Harold, I think I can see a little Nathan Hale in you.", "INT. CHASEN'S DEN - DAY Mrs. Chasen is going out, but she comes in to talk to Harold. MRS. CHASEN I only have a few minutes, Harold, but I do want to inform you of my decision. There is no doubt that it is time for you to settle down and begin thinking about your future. You have led a very carefree, idle, happy life up to the present - the life of a child. But it is time now to put away childish things and take on adult responsibilities. We would all like to sail through life with no thought of tomorrow. But that can not be. We have our duty. Our obligations. Our principles. In short, Harold, I think it is time you got married.", "INT. CHURCH - DAY PAN DOWN from the stained glass window of a church. The organ is playing softly. The PRIEST, a silver haired man rapidly approaching dotage, is in the pulpit. PRIEST And so dear brethren, let us pray to the Lord, King of Glory, that He may bless and deliver all souls of the faithful departed from the pains of hell and the bottomless pit, deliver them from the lion's mouth and the darkness therein, but rather bring them to the bliss of heaven, the holy light, and eternal rest. During the above we PULL BACK to reveal an open coffin and a church spreckled with a few mourners in black. Con - spicuous in an empty pew is Harold. The priest goes to the altar and mumbles the dull ritual. The small congregation responds. Harold sits quietly enjoying it all. VOICE -LRB- o.s. -RRB- Psst! Harold, startled, looks over to his left. HAROLD'S POV A pixiesque old woman, somewhat eccentrically dressed, is smiling at him. It is Maude again. CLOSEUP HAROLD Frowning slightly, Harold turns back front. MAUDE Psst. Harold looks back. HAROLD'S POV Maude gives him a coquettish wink. CLOSEUP HAROLD Harold is slightly shocked. He returns his attention to the altar. MED. SHOT - PRIEST The priest moans on. MED. SHOT - HAROLD Harold sits attentively. VOICE -LRB- o.s. -RRB- Psst! Harold, startled, looks over his right shoulder and sees Maude kneeling in the pew behind him. She speaks with a slight British/European accent. MAUDE Like some licorice? She offers some. HAROLD Eh, no. Thank you. MAUDE You're welcome. -LRB- gesturing to the deceased. -RRB- Did you know him? HAROLD Eh, no. MAUDE Me neither. I heard he was eighty years old. I'll be eighty next week. A good time to move on, do n't you think? HAROLD -LRB- trying to ignore her. -RRB- I do n't know. MAUDE I mean, seventy - five is too early, but at eighty - five, well, you're just marking time and you may as well look over the horizon. MED. SHOT - ALTAR The priest finishes the prayers and exits. The casket is closed and the pallbearers take it out the side door. The few mourners follow. Maude is now sitting next to Harold. MAUDE I'll never understand this mania for black. I mean no one sends black flowers, do they? Black flowers are dead flowers and who would send black flowers to a funeral? It's change! -LRB- fluttery laugh. -RRB- How absurd. Her eye catches a dour portrait of the Blessed Virgin and Child on a pillar. With one swoop she takes a felt pen from Harold's breast pocket and draws on the painting a bright and cheery smile. Harold is stunned. MAUDE There, that's better. They never give the poor thing a chance to laugh. Heaven knows she has a lot to be happy about. In fact. -LRB- she looks thought - fully around the church. -RRB- - they all have a lot to be happy about. Excuse me. INSERTS The faces of four somber statue saints. MAUDE -LRB- v.o. -RRB- An unhappy saint is a contradiction in terms.", "INT. AT THE CHURCH DOOR An anxious Harold stands while Maude puts the top back on his pen. Maude smiles and gestures at a crucifix. MAUDE And why do they keep on about that? You'd think no one ever read the end of the story. She exits grandly with Harold's pen. Harold follows. INSERTS FOUR QUICK CUTS of the saints' faces. They all have delightfully ridiculous smiles drawn on their faces. CLOSEUP - PRIEST In the same rhythm we have a FIFTH CUT - the returning priest who is dropped dead by what he sees.", "EXT. CHURCH STEPS - DAY MAUDE It's a question of emphasis, you might say. Accentuate the positive, so to speak. HAROLD Eh, could I have my pen back now, please? MAUDE Oh, of course. What is your name? HAROLD Harold Chasen. MAUDE How do you do? I am Dame Marjorie Chardin, but you may call me Maude. HAROLD Nice to meet you. MAUDE Oh, thank you. I think we shall be great friends, do n't you? Maude takes a great ring of keys from her purse, selects one of them, and opens the door of the car at the curb. MAUDE Can I drop you anywhere, Harold? HAROLD -LRB- quickly. -RRB- No, thank you. I have my car. MAUDE Well then, I must be off. -LRB- she gets in. -RRB- We shall have to meet again. She revs up the motor and looks over at Harold. MAUDE Do you dance? HAROLD What? MAUDE Do you sing and dance? HAROLD Eh, no. MAUDE No. -LRB- she smiles. -RRB- I thought not. With a great screech of burning rubber Maude drives down the street just as the priest comes up to Harold. They both watch her squeal around the corner. PRIEST -LRB- totally mystified. -RRB- That woman. She took my car.", "INT. CHASEN DEN - DAY Harold is sitting in a chair. His mother enters and sits down at the desk. MRS. CHASEN I have here, Harold, the forms sent out by the National Computer Dating Service. It seems to me that as you do not get along with the daughters of my friends this is the best way for you to find a prospective wife. Harold starts to say something. MRS. CHASEN -LRB- continuing. -RRB- Please, Harold, we have a lot to do and I have to be at the hairdresser's at three. -LRB- she looks over the papers. -RRB- The Computer Dating Service offers you at least three dates on the initial investment. They screen out the fat and ugly so it is obviously a firm of high standards. I'm sure they can find you at least one girl who is compatible. Now first, here is the personality interview which you are to fill out and return. There are fifty questions with five possible responses to check. `` A - Absolutely Yes, B - Yes, C - Not sure, D - No, E - Absolutely No.'' Are you ready, Harold? The first question is `` Are you uncomfortable meeting new people?'' Well, I think that's a `` yes.'' Do n't you agree, Harold? Even an `` Absolutely yes.'' We'll put down `` A'' on that. Now, number two. `` Do you believe it is acceptable for women to initiate dates with men?'' Well, absolutely. Mark `` A'' on that. `` Three - Should sex education be taught outside the home?'' I would say no, would n't you, Harold? Give a `` D'' there. Mrs. Chasen continues filling out Harold's questionnaire without hardly ever even looking over for his reaction. He sits there, watching. MRS. CHASEN `` Four - Do you often invite friends to your home?'' Now, you never do, Harold. Absolutely no. `` Five - Do you enjoy participating in clubs and social organizations?'' You do n't, do you? Absolutely no. `` Six - Do you enjoy spending a lot of time by yourself?'' Absolutely yes. Mark `` A.'' `` Seven - Should women run for President of the United States?'' I do n't see why not. Absolutely yes. `` Eight - Do you have ups and downs without obvious reason?'' You do, do n't you, Harold? Absolutely yes. `` Nine - Do you remember jokes and take pleasure in relating them to others?'' You do n't, do you, Harold? Absolutely no. `` Ten - Do you often get the feeling that perhaps life is n't worth living?'' Hmm. What do you think, Harold? Harold looks blankly back at his mother. MRS. CHASEN -LRB- continuing. -RRB- `` A''? `` B''? We'll put down `` C'' - `` Not sure.'' `` Eleven - Is the subject of sex being over - exploited by our mass media?'' That would have to be `` Yes,'' would n't it? `` Twelve - Do you think judges favor some lawyers?'' Yes, I suppose they do. `` Thirteen -. Harold sits passively in his chair. Slowly he draws a revolver from his pocket. As his mother rattles on he very deliberately loads the bullets one by one into the chamber. MRS. CHASEN Is it difficult for you to accept criticism?'' Nooo. We'll mark `` D.'' `` Fourteen - Do you sometimes have headaches or back aches after a difficult day?'' Yes, I do indeed. `` Fifteen - Do you go to sleep easily?'' I'd say so. `` Sixteen - Do you believe in capital punishment for murder?'' Oh, yes. `` Seventeen - Do you believe churches have a strong influence to upgrade the general morality?'' - yes, again. `` Eighteen - In your opinion are social affairs usually a waste of time?'' Heavens, no! `` Nineteen - Can God influence our lives?'' Yes. Absolutely yes. `` Twenty - Have you ever crossed the street to avoid meeting someone?'' Well, I'm sure you have, have n't you, Harold? `` Twenty - one - Would you prefer to be with a group of people rather than alone?'' That's you, Harold. `` Twenty - two - Is it acceptable for a schoolteacher to smoke or drink in public?'' Well, with reservation. Mark `` B.'' `` Twenty - three.'' Having finished loading the gun, Harold cocks it and, looking at his mother, slowly lifts it up. MRS. CHASEN Does your personal religion or philosophy include a life after death?'' Oh, yes, indeed. That's `` Absolutely.'' `` Twenty - four - Did you enjoy life when you were a child?'' Oh, yes. You were a wonderful baby, Harold. `` Twenty - five.'' The gun is pointing at his mother. Slowly Harold turns it till it is pointing directly into his face. He pulls the trigger. A burst of blood and a loud EXPLOSION. He and the chair are blown over backward OUT OF FRAME. SOUNDS of crashing furniture and breaking china. Mrs. Chasen remains impervious to it all. MRS. CHASEN `` Do you think the sexual revolution has gone too far?'' It certainly seems to have. `` Twenty - six. The last crash - a tottering lamp falls. Mrs. Chasen looks up peeved. MRS. CHASEN Harold! Please! -LRB- beat. -RRB- `` Should evolution be taught in our public schools?!''", "EXT. GRAVEYARD DRIVE - DAY A long line of black limousines follow a hearse in a funeral procession. At the tag of the line is another hearse - Harold's.", "EXT. AT THE GRAVESITE - DAY PAN around the sorrowing faces. STOP at Harold. CONTINUE past him 180 degrees and STOP at Maude. She is directly across the open grave from Harold. She tries to get his attention. MAUDE Psst! Psst! Harold looks up. Maude gives him a friendly wink, and a kind of `` How do you do?'' smile. Harold is horrified. The priest looks up from his praying. It is the same priest as before. He looks over at Maude. Maude suddenly over - come by sorrow backs away from the people.", "EXT. GRAVEYARD - DAY Harold is walking by the road. The funeral in the back - ground is over but we see the priest coming toward him. PRIEST Eh, my boy. A moment, please. Who was that old lady waving to you earlier? Just then Maude drives up in Harold's hearse. She stops. MAUDE Hello, Harold. Can I give you a lift? Harold is surprised. He goes over to the hearse. PRIEST Ah! There you are, madam. Were not you the lady who drove my car off yesterday? MAUDE Was that the one with the St. Christopher medal on the dashboard? PRIEST Yes. MAUDE Then I suppose it was me. Get in, Harold. Harold decides not to argue. He gets in. PRIEST Were you also the one who painted the statues? MAUDE -LRB- brightly. -RRB- Oh, yes. How did you like that? PRIEST Well, I did n't. MAUDE Oh, do n't be too discouraged. For aesthetic appreciation - always a little time. PRIEST But wait. Maude waves and drives off with her usual screeching start.", "INT. HAROLD'S HEARSE - DAY Harold is sitting in the front seat, wanting to say some - thing but also trying to hold on. Maude drives like a racing car driver, fast and risky, but with complete self - assurance. MAUDE What a delight it is, Harold, to bump into you again. I knew we were going to be good friends the moment I saw you. You go to funerals often, do n't you? Harold is more intent on Maude's maneuvering of his car than on conversation. HAROLD Yes. MAUDE Oh, so do I. They're such fun, are n't they? It's all change. All revolving. Burials and births. The end to the beginning and the beginning to the end -. -LRB- she makes a screeching left - hand turn. -RRB- - the great circle of life. My, this old thing handles well. Ever drive a hearse, Harold? HAROLD -LRB- petrified. -RRB- Yes. MAUDE Well, it's a new experience for me. -LRB- she makes a screech - ing right - hand turn. -RRB- Good on curves. Shall I take you home, Harold? HAROLD -LRB- managing to speak. -RRB- But this is my car. MAUDE Your hearse? HAROLD Yearse! MAUDE Oh.", "EXT. ROADSIDE - LONG SHOT - DAY of the car coming to a screeching halt.", "INT. CAR - DAY MAUDE -LRB- brightly. -RRB- Then you shall take me home.", "INT. CAR - DAY SAME ANGLE as 49 but this time Harold is driving and Maude sits beside him. MAUDE And so just before he left for the monastery in Tibet, Big Sweeney gave me his keys. She is showing Harold her ring of car keys. MAUDE -LRB- continuing. -RRB- Of course, I've had to make some additions for the new models, but not as many as you might think. Once you have your basic set it's then only a question of variation. HAROLD And you get into any car you want and just drive off? MAUDE Not any car. I like to keep a variety. I'm always looking for the new experience, like this one. I liked it. HAROLD Thank you. But when you take these cars do n't you think you are wronging the owners? MAUDE What owners, Harold? We do n't own anything. It's a transitory world. We come on the earth with nothing, and we go out with nothing, so is n't `` ownership'' a little absurd? HAROLD Still, I think you'd upset people and I'm not sure that's right. MAUDE Well, if some people are upset because they feel they have a hold on some things, then I'm merely acting as a gentle reminder - I'm sort of breaking it easy - Here today, gone tomorrow, so do n't get attached to things. Now, with that in mind, I'm not against collecting stuff.", "INT. MAUDE'S APARTMENT - DAY Maude and Harold enter. MAUDE I've collected quite a lot of stuff in my time. We see Maude's main room filled with all kinds of eccentric memorabilia, from a mounted swordfish to an ivory Buddha. It is dominated by a large canopied bed like something from a Wagnerian opera. Other features are a large fireplace, a baby grand piano, expensive paintings on the walls, a tall wooden sculpture, and a Japanese type eating area with satin cushions. MAUDE It's all memorabilia, but incidental and not integral, if you know what I mean. HAROLD -LRB- looks around amazed. -RRB- It's very interesting. MAUDE Oh, look! The birds. She goes to the window and works a unique pulley device that delivers seed to the bird table in the back yard. MAUDE This is my daily ritual. I love them so much. The only wild life I see anymore. Free as a bird! -LRB- fluttery laugh. -RRB- You know, at one time I used to break into pet shops and liberate the canaries, but I gave it up as an idea before its time. The zoos are full and the prisons overflowing. My, my. How the world so dearly loves a cage. -LRB- she looks out another window. -RRB- And there's Madame Arouet, cultivating her garden. She waves at the black dressed old woman diligently hoeing vegetables in the backyard. The old woman does not notice Maude. MAUDE -LRB- sighs. -RRB- She's very sweet, but so old - fashioned. Please sit down, Harold. I'll put on the kettle and we'll have a nice hot cup of tea. HAROLD Thank you, but I really have to go. MAUDE But it's oat straw tea. You've never had oat straw tea, have you? HAROLD No. MAUDE Well then. The argument is over. HAROLD Thank you, but it's an appointment. I really should n't miss it. MAUDE Oh, at the dentist's? HAROLD Sort of. MAUDE Well, then, you must come back and visit. HAROLD All right. MAUDE My door is always open. HAROLD All right. MAUDE Promise? He turns at the door and half smiles. HAROLD Promise.", "INT. PSYCHIATRIST'S OFFICE - DAY Harold is on the couch. The psychiatrist sits behind him. PSYCHIATRIST Harold? Harold is day dreaming. PSYCHIATRIST Harold? HAROLD -LRB- comes to. -RRB- Huh? PSYCHIATRIST You do n't seem to be listening. I asked do you have any friends? HAROLD No. PSYCHIATRIST None at all? HAROLD Well, maybe one. PSYCHIATRIST Would you care to talk about this friend? HAROLD No. PSYCHIATRIST Is this a friend you had when you were away at school? HAROLD No. PSYCHIATRIST -LRB- things are getting difficult. -RRB- I see. -LRB- he tries a new attack. -RRB- Were you happy at school, Harold? HAROLD Yes. PSYCHIATRIST You liked your teachers? HAROLD Yes. PSYCHIATRIST Your classmates? HAROLD Yes. PSYCHIATRIST Your studies? HAROLD Yes. PSYCHIATRIST Then why did you leave? HAROLD I burnt down the Chemistry building. The psychiatrist gets up and rather anxiously paces about. PSYCHIATRIST We are not relating today, Harold. I sense a definite resistance. A lack of true and helpful communication. I find you a very interesting case, Harold, but this reluctance of yours is detrimental to the psycho - analytical process, and can only hinder the possibility of effective treatment. Do you understand? HAROLD Yes. PSYCHIATRIST Very well. -LRB- he sits. -RRB- Now your mother tells me she is arranging several dates for you with some young ladies. How do you feel about that? STOCK INSERT A giant steel ball crashes into a brick wall, demolishing it.", "INT. PSYCHIATRIST'S OFFICE - DAY PSYCHIATRIST I see. Tell me, Harold, do you remember your father at all? HAROLD No. -LRB- pause. -RRB- I'd have liked to. PSYCHIATRIST Why? HAROLD I'd have liked to talk to him. PSYCHIATRIST What would you say? HAROLD -LRB- pause. -RRB- I'd show him my hearse. And my room, and stuff. PSYCHIATRIST What kind of stuff? OMITTED OMITTED", "INT. HAROLD'S ROOM - NIGHT All the lights are on showing a room cluttered with books, guns and swords on the walls, small bits of odd machinery, a chemistry workbench, a school pennant, some trophies, some models, a chess set, etc.. HAROLD -LRB- v.o. -RRB- Oh, all my things - incidental but not integral, if you know what I mean. We PAN over individual items - the chemistry set, pool floats, a small oxygen cylinder, the rope and body harness he used to hang himself in the first scene, a large bottle of Max Factor blood, a portrait of Lon Chaney as `` The Phantom of the Opera.'' We come to a silver serving dish with a large silver cover over it. A hand comes into frame and removes the cover. On the dish is Harold's severed head. The hands pick up the head. We TILT UP and see it is Harold. He takes the dummy head over to his dresser, combs the hair and picks off the latex blood, and then takes it to the center of the room, where a headless dummy sits in a chair. Harold screws the head onto the dummy. It does n't fit very well. He fiddles with it a moment but he is not satisfied. He goes to his closet and looks into a box of tools and things. He takes a meat cleaver out but he is still looking for something else. There is a knock on the door and Mrs. Chasen in evening clothes enters. Harold turns to come out of the closet but he hears his mother addressing the dummy. MRS. CHASEN Now listen, Harold, I have here the three girls sent out by the Computer Dating Service. She shuffles through three IBM cards in her hand. MRS. CHASEN -LRB- continuing. -RRB- I've phoned them up and invited each of them to have lunch with us before you take them out. The first one is coming tomorrow at one. Luncheon at two. Harold stands with the meat cleaver in his hand behind the closet door. He listens blankly. MRS. CHASEN -LRB- still talking to the dummy. -RRB- Now I want you to act like a gentleman and make this girl feel at home. Well, I'm off to the ballet with the Fergusons. I only hope they can maneuver round that great black thing in the driveway. -LRB- she pauses. -RRB- You look a little pale, Harold. -LRB- she opens the door. -RRB- You get a good night's sleep. After all you want to look your best for tomorrow. -LRB- she exits. -RRB- Harold hears the door shut. He ponders his fate for a moment. He leans around the door and looks at the dummy. He thinks. He gives it up. He goes back in the closet to find whatever he was looking for.", "INT. CHASEN'S FRONT LOBBY - DAY Mrs. Chasen opens the front door, revealing a cute, blond, typical American co - ed. This is CANDY GULF. CANDY Hello, I'm Candy Gulf. MRS. CHASEN How do you do. I'm Mrs. Chasen. Come in. Candy comes in and Mrs. Chasen closes the door. MRS. CHASEN -LRB- continuing. -RRB- Harold is out in the garden. He'll be in in a moment. Let's go into the den.", "INT. CHASEN'S DEN - DAY Candy and Mrs. Chasen enter. MRS. CHASEN You are at the University, Candy? CANDY Yes, I am. MRS. CHASEN And what are you studying? CANDY Poli. Sci. With a home ec minor. MRS. CHASEN Eh, Poli Sci? CANDY Political Science. It's all about what's going on. They walk to the window. MRS. CHASEN Oh, there's Harold now. Candy and Mrs. Chasen look out the French window. They wave. Harold waves back and leaves. Candy and Mrs. Chasen sit down. Candy faces the window ; Mrs. Chasen has her back to it. CANDY He seems very nice. Is Harold interested in, eh, what's going on? I think it's such a super thing to study. And then, of course, I can always fall back on home ec. MRS. CHASEN Yes, that's good planning. Tell me, are you a regular, Candy, in this computer club? We see out the window that Harold has come back. He carries a large can marked Kerosene. Candy sees him but returns her attention to answering Mrs. Chasen. CANDY Heavens no. I do n't have to worry about dates. You see, the other girls in my sorority, well, we decided that somebody should try it, so we drew straws and I lost. -LRB- little giggle. -RRB- But I am looking forward to meeting Harold. She looks beyond Mrs. Chasen, out the window. She is a little nonplussed. Harold is pouring the kerosene all over himself. MRS. CHASEN I think I should mention, Candy, that Harold does have his eccentric moments. CANDY -LRB- never let it be said that she is n't a good sport. -RRB- Oh, yes? Well, that's all right. I've got a brother who's a real cut - up, too. I'll never forget the time we had this old TV set with no parts in it. Well, Tommy stuck his head behind it and started giving a newscast before the whole family. We were all hysterical. And here's little Tommy pretending to be Walter Cronkite. She looks back at Harold out the window. He is ablaze. Her mouth falls open. MRS. CHASEN Yes. I'm sure it must have been very funny. Candy jumps up, pointing out the window behind Mrs. Chasen. CANDY Har - Haro - Haroldddd! Mrs. Chasen rises, slightly disturbed but used to odd behavior. MRS. CHASEN Yes, dear. Here is Harold now. Harold enters from the side door. MRS. CHASEN -LRB- continuing. -RRB- Candy, this is Harold. Candy is momentarily stunned. Harold nods his greetings. MRS. CHASEN Candy was just telling a funny story about Walter Cronkite. Candy begins hysterical babbling and collapses.", "INT. MAUDE'S APARTMENT - DAY The front door opens slowly and Harold enters. HAROLD Maude. Maude. Anybody home? He gets no answer and steps into the room. He looks over the fireplace, where a furled umbrella is hung up like a rifle. Nearby he sees a glass cabinet full of sea shells and glass work. He walks over to a large table and is puzzled by the odd - shaped, machine - like boxes on top. He looks over at the wood sculpture, a highly polished work with very smooth curves and holes. Instinctively he puts out his hand to touch it, but decides he should n't. He walks over to the piano and examines the silver frames standing on it. They have no photographs in them and this interests him. He goes to the window. Over his shoulder we see MADAME AROUET hoeing in her vegetable patch.", "EXT. THE BACK YARD - DAY A MEDIUM SHOT of Madame Arouet. She is dressed in the black peasant's dress of Southern France. She is thin and wrinkled and wears a large straw sun hat. She is con - tinually working. Harold comes up to her. HAROLD Excuse me, have you seen Maude? Madame Arouet looks up. She does n't comprehend. HAROLD Maude. Do you know where she is? Still no understanding. HAROLD Maude? MADAME AROUET Ah! Maude. She points to the building next door. HAROLD -LRB- nodding. -RRB- Oh, thank you. Thank you very much. Merci. He goes off toward the building. Madame Arouet continues hoeing. CLOSEUP - MADAME AROUET She looks up from her work and watches Harold. There is a strange sadness in her old weathered face - time lost, pleasures past over, the resignation to a lifetime of work. She turns back to her garden.", "INT. GLAUCUS'S STUDIO - DAY Harold comes through the door, sees where he is at, and becomes embarrassed. HAROLD Oh. Excuse me. HAROLD'S POV - AN ARTIST'S STUDIO The first thing we notice is the large block of ice in the center of the room - seven to eight feet tall - and through it, as if looking through the glass on a shower door, we can see a naked female body posing as Venus. The sculptor, GLAUCUS, a frail, little, white - haired old man, dressed in winter clothing, turns from the ice with a chisel and hammer in his gloved hand. GLAUCUS What do you want? HAROLD I'm sorry. I was looking for Maude. The nude figure behind the ice moves and we see her head over the top. It is Maude. MAUDE Harold? HAROLD Maude?!", "INT. MAUDE'S APARTMENT - DAY Harold sits in a chair, brooding. Maude is in her kitchen alcove. MAUDE How about some ginger pie? HAROLD Eh, fine. MAUDE I'll heat some up. My, it's nice to see you again, Harold. How's your hearse? HAROLD Oh, it's fine. Fine. MAUDE She seemed yare to me. Maude lays out the table. Harold gets up. He has some - thing on his mind. HAROLD -LRB- nonchalantly. -RRB- Do you often model for Glaucus? MAUDE Heavens no! I do n't have the time. But I like to keep in practice and poor Glaucus occasionally needs his memory refreshed as to the contours of the female form. -LRB- she stops. -RRB- Do you disapprove? HAROLD Me! No. Of course not. MAUDE -LRB- she wants the truth. -RRB- Really. Do you think it's wrong? HAROLD -LRB- thinks, decides, and reports his conclusion. -RRB- No. -LRB- he smiles. -RRB- MAUDE Oh, I'm so happy you said that because I wanted to show you my paintings. This is the `` Rape of Rome'' and, of course, there in the corner is quite a graphic depiction of Leda and the Swan. Harold looks at the corner of the painting and then back at Maude. MAUDE -LRB- coquettishly. -RRB- A self - portrait. -LRB- she walks on. -RRB- But over here is my favorite. It's titled `` Rainbow with Egg Underneath and an Elephant.'' Do you like it? HAROLD Yes. Very much. MAUDE It was my last. I then became infatuated with these - my `` Odorifics.'' She points to the odd - shaped boxes with the tubes and handles attached to them. MAUDE Give the nose a treat, I thought. Have a kind of olfactory banquet! So I began first on the easiest - roast beef, old books, mown grass, then I went on to these -. -LRB- she reads the labels on the boxes. -RRB- `` An Evening at Maxim's.'' `` Mexican Farmyard.'' Here's one you'd like. `` Snowfall on 42nd Street.'' Put it on. She helps him put on the oxygen - type mask. MAUDE -LRB- continuing. -RRB- Now I'll pump it up. -LRB- she does so. -RRB-. and you just turn the handles. -LRB- he does. -RRB- Okay. What do you smell? HAROLD Subways. Perfume. Cigarette. -LRB- gradually becoming more excited. -RRB-. Cologne. Carpet. Chestnuts! Snow! MAUDE It goes on and on. HAROLD That's really great. He takes it off. MAUDE Thank you. I thought of continuing - graduating to the abstract and free - smelling - but then I decided to switch to the tactile. She gestures at the wood sculpture. MAUDE What do you think? HAROLD Oh. Eh, I like it. MAUDE No, you have to touch it. -LRB- she demonstrates. -RRB- You have to run your hands over it, get close to it, really reach out and feel. You try it. Harold tries. He gingerly moves his hand over a rather sensuous curve. MAUDE That's right. How's the sensation? A low RISING WHISTLE is heard. MAUDE Oh, that's the kettle. -LRB- she goes to kitchen. -RRB- Go ahead, Harold. Stroke, palm, caress, explore. Harold watches Maude leave the room. He hears her invita - tion and looks at the sculpture. A battle is going on inside him. -LRB- `` Go ahead touch it! - Better not!'' -RRB- Maude begins humming in the kitchen. She wo n't be out for a while. Harold begins moving his hand over the polished wood. His face is expressionless, but he moves his body closer and his hand becomes more daring. He brings his other hand onto the sculpture. He is enjoying the sensations. He looks at the large hole before him. His hand moves around it. -LRB- `` Go ahead - Better not!'' -RRB- His eyes scan the room. Suddenly he sticks his head in the hole, pulls it out, steps back quickly, and looks over to the kitchen. Maude is still out there humming. Harold relaxes, straightens his suit, looks at the sculpture, and braves a short smile. Maude enters with the tea. MAUDE Here we are, Harold. Oat straw tea and ginger pie. HAROLD Certainly a new experience for me. MAUDE Wonderful! Try something new each day. After all, we're given life to find it out. It does n't last forever. They sit down at the table. HAROLD You look as if you could. MAUDE Me. Ha! Did I tell you I'll be eighty on Saturday? HAROLD You do n't look eighty. MAUDE That's the influence of the right food, the right exercise, and the right breathing. -LRB- she gestures. -RRB- Greet the dawn with the Breath of Fire! -LRB- the demonstration leaves her a little winded. -RRB- Of course, there's no doubt the body is giving out. I'm well into autumn. I'll have to be giving it all up after Saturday. Sweeten the tea with honey, Harold. It's delicious. HAROLD That's a nice teapot. MAUDE Sterling silver. It was my dear mother - in - law's, part of a dinner set of fifty pieces. It's one of the few things that survived. -LRB- pause. -RRB- Oh, but I do rattle on so. Tell me about yourself, Harold. -LRB- she settles back with her tea. -RRB- What do you do when you are n't visiting funerals?", "EXT. DEMOLITIONS - DAY Shots of falling buildings. The giant demolition ball swings left and right knocking mighty holes in brick walls and sending them crumbling to earth with deafening noise.", "EXT. DEMOLITION - ANOTHER ANGLE - DAY Harold and Maude watch, in the background, an old building collapse into rubble. After the noise abates Maude turns to Harold. MAUDE Yes. There is definitely a certain attraction.", "EXT. JUNKYARD - DAY A giant crane comes crashing into the hood of a car. The car is picked up and dropped on a conveyor belt which hauls it up to the crusher. Despite the terrible din Harold and Maude watch with rapt attention.", "EXT. JUNKYARD DISTRICT - LONG SHOT - DAY Harold and Maude are sitting on a hill picnicking. They are looking at the junkyard operation in the distance. They chew for a while then Maude offers Harold a raw carrot. She chews on one herself. MAUDE Well, it's all very thrilling, of course, but I ask you, Harold. Is it enough? HAROLD What do you mean? Maude smiles.", "EXT. A LARGE VEGETABLE FIELD - DAY The CAMERA is at a LOW LEVEL. We see long rows of young plants that stretch into the distance. We PAN across the field into two giant CLOSEUPS of Harold and Maude. They are lying on the ground looking intently at one little plant. Maude looks over to Harold. MAUDE I love to watch things grow.", "EXT. FLOWER FARM - DAY SHOTS of flowers growing, all different varieties, in clusters, in pots, on vines, in greenhouses, in large fields. Maude and Harold are walking down a row of flowers. MAUDE They grow and bloom, and fade, and die, and some change into something else. Ah, life! They stop by some flowers. MAUDE I should like to change into a sunflower most of all. They are so tall and simple. And you, Harold, what flower would you like to be? HAROLD I do n't know. Just one of those. -LRB- he gestures. -RRB- HAROLD'S POV We see a large field of daisies stretching to the hills.", "EXT. BY THE DAISY FIELD - DAY Harold and Maude look out at it. MAUDE -LRB- a little perturbed. -RRB- Why do you say that? HAROLD -LRB- softly. -RRB- Because they are all the same. MAUDE Oooh, but they are not. Look. They bend down to see some close ones. MAUDE -LRB- continuing. -RRB- See - some are smaller, some are fatter, some grow to the left, some to the right, some even have some petals missing - all kinds of observable differences, and we have n't even touched the bio - chemical. You see, Harold, they're like the Japanese. At first you think they all look alike, but after you get to know them you see there is not a repeat in the bunch. Each person is different, never existed before and never to exist again. Just like this daisy -. -LRB- she picks it. -RRB- - an individual. They stand up. HAROLD Well, we may be individuals all right but -. -LRB- he looks out at the field. -RRB- - we have to grow up together. Maude looks up. She is very struck by what Harold said. She speaks very softly and we see she has tears in her eyes. MAUDE Yes, that's very true. Still I believe much of the world's sorrow comes from people who know they are this -. -LRB- she holds the daisy. -RRB- - yet let themselves be treated -. -LRB- she looks out at the field. -RRB- - as that.", "EXT. THE FIELD - DAY Thousands and thousands of daisies wave gently in the breeze.", "EXT. ROAD BY THE FLOWER FARM - DAY A large black Continental apparently out of control crashes through the flower farm fence, swerves onto the road, and zigzags away at top speed before finally straightening out.", "INT. CONTINENTAL - DAY Harold is petrified. Maude is driving. She looks over at him and explains. MAUDE Ha! Power steering.", "EXT. ROAD IN TOWN - DAY The Continental speeds by.", "INT. CONTINENTAL - DAY Harold has somewhat recovered. HAROLD Boy, Maude. The way you handle cars. I'd never handle a car like that. MAUDE Oh, it's only a machine, Harold. It's not as if it were alive, like a horse or a camel. We may live in a machine age, but I simply ca n't treat them as equals. -LRB- she looks over at the radio. -RRB- Of course, the age has its advantages. She turns it on. Music plays softly. MAUDE -LRB- continuing. -RRB- The universal language of mankind. -LRB- she begins humming along with the tune. -RRB- What music do you like, Harold? HAROLD Well. Harold is suddenly thrown against the door as Maude makes a fast U - turn.", "EXT. BEFORE THE COURTHOUSE PARK - DAY We see the Continental turn across the street, drive up onto the sidewalk, and stop as it bumps into a telegraph pole. MED. SHOT OF THE CAR Maude gets out, walks around the car, and opens Harold's door. Harold, very shaken, gets out. HAROLD What happened? MAUDE -LRB- she points. -RRB- Look. HAROLD What? MAUDE Over there by the courthouse. HAROLD What is it? MAUDE That little tree. It's in trouble. Come on. Maude walks over to the courthouse. Harold, not wanting to be left with the crashed car, quickly follows.", "EXT. BY THE COURTHOUSE - DAY They come to a little tree growing in the garden. MAUDE Look at it, Harold. It's suffocating. It's the smog. People can live with it, but it gives trees asthma. They ca n't breathe. See the leaves are all brown. Harold, we've got to do something about this life. HAROLD But what? MAUDE We'll transplant it. To the forest. HAROLD But we ca n't just dig it up! MAUDE Why not? HAROLD But this is public property. MAUDE Exactly. She's ready to dig. HAROLD Do n't you think we should get some tools, maybe? MAUDE Yes, you're right. We'll go see Glaucus. Come on. HAROLD Oh, wait, Maude. Look! Harold points and we see that two COPS have stopped and are checking out the Continental on the sidewalk. MAUDE -LRB- nonchalantly. -RRB- Oh, the police. Come on.", "EXT. BY THE CONTINENTAL - DAY The police are looking around. Maude boldly walks by. Harold tags reluctantly along. MAUDE Good afternoon, Officer. Bit of trouble here? OFFICER -LRB- tips his hat. -RRB- Yes, ma'am. Somebody had some trouble parking. MAUDE Well, it's a tricky turn. OFFICER -LRB- not understanding but amiable. -RRB- Eh, yes, ma'm. MAUDE Tell me -. -LRB- points to car in front. -RRB- - is that car parked all right? OFFICER Oh yes. That's fine. MAUDE Well, thank you. Eh, officer, you might turn off the radio. Saves the battery. Maude and Harold walk off to the car in front. The officer turns off the radio. He looks up. Maude has opened the door of the car in front with her ring of keys. She waves to him. CLOSEUP - THE OFFICER He tips his hat and waves back. He is smiling as we hear the engine start. The smile drops as we hear Maude's screeching start.", "INT. GLAUCUS'S STUDIO - NIGHT Maude and Harold enter. The block of ice in the center of the room is now five to six feet tall and melting rapidly into the large trough in which it stands. Around the studio on the walls and benches are every conceivable hand tool - sculpting tools, gardening tools, construction tools, etc.. On a raised platform in one corner covered with rugs and cushions and skins, lies Glaucus, bundled up in a parka and snoring horribly. In his gloved hands he holds a hammer and an ice pick. MAUDE Oh, my. We're too late. HAROLD Is he all right? MAUDE He's fallen asleep, as usual. She covers him with a rug. MAUDE -LRB- continuing. -RRB- We'll come back in the morning. HAROLD What is that he's working on? MAUDE An ice sculpture. It's Venus - the Goddess of Love, the completion of which is his unfulfilled dream. HAROLD It is kind of rough. MAUDE He's never finished one yet. He has around him every kind of hand tool known to man, but the poor dear has difficulty staying awake. HAROLD Look, the ice is melting. MAUDE Yes. They both stand and stare. MAUDE That's one of the drawbacks of the medium.", "INT. MAUDE'S APARTMENT - NIGHT Harold and Maude sit before the fire. They have just finished dinner. MAUDE A little after - dinner liqueur, Harold? HAROLD Well, I really do n't drink. MAUDE Oh, it's all right. It's organic. She pours. HAROLD Thank you. MAUDE -LRB- offering. -RRB- Some nuts? Some licorice? It has no nutritional value but then consistency is not really a human trait. HAROLD Thank you. He chews the licorice. He gestures above the fireplace. HAROLD -LRB- continuing. -RRB- What's that? MAUDE My umbrella? -LRB- fluttery laugh. -RRB- Oh, that's just a relic. I found it when I was packing to come to America. It used to be my defense on picket lines and rallies and political meetings - being dragged off by police or attacked by thugs of the opposition. -LRB- fluttery laugh as she remembers. -RRB- A long time ago. HAROLD What were you fighting for? MAUDE Oh, Big Issues. Liberty. Rights. Justice. Kings died and kingdoms fell. I do n't regret the kingdoms - what sense in borders and nations and patriotism - but I do miss the kings. When I was a little girl I was taken to the palace in Vienna, to a garden party. I can still see the sunshine, the parasols, and the flashing uniforms of the young officers. I thought then I would marry a soldier. -LRB- fluttery laugh. -RRB- Later, Frederick would chide me about it. -LRB- with a twinkle. -RRB- He was so serious. A doctor at the University. And in the government. Suddenly she gets quiet. MAUDE But, that was all. before. Maude stares into the fire. She suddenly seems very small and fragile. Harold notices the change that has come over her and is not sure what to say. HAROLD So you do n't use the umbrella any more? She looks at him and says softly : MAUDE No. HAROLD No more revolts. MAUDE -LRB- sparks back to her old self. -RRB- Oh, yes! Every day. But I do n't need a defense anymore. I embrace! Still fighting for the Big Issues but now in my small, individual way. Shall we have a song? HAROLD Well, I do n't. MAUDE Oh come on. I'll teach you. She goes to the piano, sits down, and plays. It is a fast, delightful song and she sings it with zest. MAUDE Come on, Harold, join in the chorus. Beside her Harold hesitatingly sings along. The o.s. orchestra has joined in, enabling Maude to leave the piano and get up and dance. She capers in true old vaudeville fashion. As the song continues we go into a MONTAGE and see Maude dance as she sings in various locales - the beach, the forest, the fields, the hills, finally returning to her room to join up with Harold for a socko finish. MAUDE Oh, that was fun. Let's play something together. HAROLD But I do n't play anything. MAUDE -LRB- a bombshell! -RRB- Do n't play anything! Dear me. Everyone should be able to make some music. Why, it's life! - Rhythm and harmony - That's the cosmic dance. Come with me. She goes over to a large cupboard and opens both doors. It is full of all kinds of musical instruments. She ferrets about for a while and pulls out a banjo. MAUDE Here we are. Just the thing. She shows him a chord and how to strum. - `` Your fingers here. etc.'' He does it a few times. MAUDE That's right. But be impulsive! Be fanciful! Let the music flow out of you as freely as though you were talking. Okay? -LRB- she sits. -RRB- From the top - Let's jam! She swings into the chorus and Harold strums along. At the end she looks over at him beaming. HAROLD Okay? MAUDE Superb.", "EXT. THE CHASEN'S BACKYARD - DAY Harold sits practicing his banjo. We barely recognize that he is playing Maude's Song. He hears his mother calling him and he quickly hides his banjo in a nearby flower pot. His mother enters. MRS. CHASEN Harold! Harold! Ah, there you are. I have a little present for you. A surprise. Come with me. They both go off toward the garage.", "EXT. THE GARAGE AREA - DAY They both come around the corner and Mrs. Chasen gestures dramatically in front of her. MRS. CHASEN There!", "EXT. THE GARAGE AREA - THEIR POV - DAY We see a little green MG roadster. Harold comes up to it, suspecting something funny. He looks around for his hearse. MRS. CHASEN Is n't that darling? I had them tow off that black monstrous thing of yours and had them send this around instead. It's so much more appropriate for you, do n't you think? Harold starts to say something. MRS. CHASEN -LRB- continuing. -RRB- One more thing, Harold. I've talked on the phone with your second computer date and she seems a very nice, quiet girl. Not at all hysterical like the first one. Nevertheless I want you to be on your best behavior when she comes tomorrow and make her feel at home. -LRB- she looks at the car before leaving. -RRB- Cute little thing, is n't it? I like it very much. -LRB- she exits. -RRB- Harold stands for a moment looking at the MG. He makes a decision. QUICK SHOT Harold takes off his jacket. QUICK SHOT Harold wheels to the car a large acetylene torch. QUICK SHOT Harold pulls down a great welding mask over his head.", "INT. GLAUCUS' STUDIO - DAY A brand new block of ice - eight to nine feet tall - stands in the trough in the center of the studio. Glaucus, spryly dressed for autumn, is chipping merrily away. GLAUCUS Come in. Come in. Maude enters. MAUDE Have you seen Harold? GLAUCUS One moment. He makes a chip on the ice and stands back to examine it. He is satisfied. He turns to Maude, full of pep. GLAUCUS Ah, Dame Marjorie. Greetings. -LRB- he kisses her hand. -RRB- As Odysseus said to Penelope. Harold enters a little out of breath. HAROLD Sorry I'm late. GLAUCUS A rather free translation but nonetheless correct. Greetings to you too, my little one. -LRB- he gestures at the ice. -RRB- Tell me, what do you see? HAROLD A block of ice. GLAUCUS Exactly! Now, ask me what I see. HAROLD What do you see? GLAUCUS I see the eternal goddess of beauty and love. I see Aphrodite. The consummate woman. Full of warmth and fire. Frozen. -LRB- to the ice. -RRB- And it is I who shall set you free. He takes a small pneumatic drill and attacks the ice. He makes a little incision, puts it down, and steps back to observe. He wipes his brow. GLAUCUS Each morning I am delivered of a new block of ice. Each evening my eyes grow weary, my hands hang heavy, and I am swept down Lethe to slumber -. -LRB- slowly with feeling. -RRB- - while my goddess, half - born, drips away - unseen, unsung, and unknown. MAUDE May we borrow a shovel? GLAUCUS Wait! Let me think. Do I need a shovel today? No! I need a blowtorch. -LRB- he gets a blowtorch. -RRB- Take any shovel. You are welcome. Harold picks up a shovel. MAUDE Thank you, Glaucus. We'll see you later. Come on, Harold. Harold and Maude exit. GLAUCUS Farewell, my friends. -LRB- he fires the blowtorch. -RRB- `` Where'er he moved, the goddess shone before'' - Homer! He approaches the ice.", "EXT. HIGHWAY - LONG SHOT - DAY We PAN with a brown pick - up truck as it drives along. A small tree stands swaying in the back.", "INT. PICK-UP TRUCK - ANGLE FROM SIDE - MED. SHOT - DAY Maude is driving. Harold sits beside her. The car is traveling from SCREEN LEFT to SCREEN RIGHT. Harold looks at Maude. She smiles. He smiles.", "EXT. HIGHWAY - LONG SHOT - DAY Cop on a motorcycle watches Maude go by. He follows her and flags her down. She pulls the truck over to the side of the road.", "EXT. ROADSIDE - DAY The cop gets off his motorcycle and comes over to the truck door. COP Lady, you were going 70 miles an hour in a 45 - mile zone. Could I see your license, please? MAUDE Yes. Those little pieces of paper with your picture on it? COP Yes. MAUDE Oh, I do n't have one. COP Come again. MAUDE I do n't have one. I do n't believe in them. COP How long have you been driving? MAUDE About forty - five minutes, would n't you say, Harold? We were hoping to start sooner but, you see, it's rather hard to find a truck. COP Could I see your registration? MAUDE I just do n't think we have one, unless it's in the glove compartment. Could you look, Harold? COP Is n't this your vehicle? MAUDE No, no. I just took it. COP Took it? MAUDE Yes. You see I have to plant my tree. COP Your tree. MAUDE Well, it's not really mine. I dug it up in front of the courthouse. We're transplanting it. Letting it breathe, you know. But, of course, we would like to get it into soil, as soon as possible. COP Lady, let me get this straight. MAUDE -LRB- agreeing. -RRB- All right, then, and we'll be off. -LRB- she revs up the motor. -RRB- Nice chatting with you. Maude zooms off down the highway. The cop is left flabber - gasted. He races for his motorcycle. With SIRENS blazing he drives of to catch her.", "INT. THE TRUCK - DAY Harold looks uneasily out the back window. HAROLD I think he's following us. MAUDE Is he? Ah, the police. Always wanting to play games. Well, here goes. Maude accelerates and zooms off.", "EXT. THE HIGHWAY - DAY Maude careens down the highway dodging cars. The cop follows in hot pursuit. Suddenly Maude does a full left turn making a screeching half - circle and charging off down the highway in the opposite direction. Cars pull over out of her way. The cop does a similar U - turn and follows her. Maude immediately makes another U - turn and flies off down the highway in her original direction. The cop is taken unawares. Traffic around him is in total confusion. He dodges zigzagging cars, runs up onto the embankment, and stops.", "INT. THE TRUCK - DAY HAROLD -LRB- turns around badly shaken. -RRB- He's stopped. MAUDE -LRB- brightly. -RRB- The old double U - turn. Gets them every time.", "EXT. THE HIGHWAY - DAY The truck continues on its merry way.", "EXT. A PLEASANT GLADE IN THE FOREST - DAY Maude and Harold have just finished planting the tree ; Maude is putting the finishing touches around the trunk. She stands up. MAUDE There. Oh, I like the feel of soil, do n't you? And the smell. It's the earth. `` The earth is my body. My head is in the stars.'' -LRB- little laugh. -RRB- Who said that? HAROLD I do n't know. MAUDE I suppose I did. -LRB- laughs. -RRB- Well, farewell little tree. Grow up tall, and change, and fall to replenish the earth. Is n't it wonderful, Harold? All around us. Living things.", "EXT. THE FOREST - DAY Harold and Maude are sitting in a tree. MAUDE I come here as often as I can. It's exhilarating. What do you call it? Nature! Life! Soul! God! At any rate, it's here, and. We PULL BACK on the ZOOM and see they are sitting in the top branches of a very tall tree. MAUDE we are part of it.", "INT. PICK-UP TRUCK - DAY SAME SIDE ANGLE AS SHOT 96, except now the truck is traveling from screen right to screen left. Maude is driving ; Harold sits beside her. Maude looks at Harold. He smiles. She smiles.", "EXT. THE HIGHWAY - LONG SHOT - DAY We see the truck, now without the tree, go driving down the road. We see the cop on the motorbike. It is the same one as before. He sees the truck, grits his teeth, and speeds on after it. With SIRENS blazing he signals Maude to pull well off the road, and around so that it is facing the fields. The cop gets of his bike and goes over to them. COP Okay, lady. Out. MAUDE Hello. She does n't quite recognize him. MAUDE Have n't we met before? COP None of that, lady. MAUDE -LRB- genuinely. -RRB- Oh, well. Must have been your brother. COP Out! Maude gets out. MAUDE But there is a family resemblance. COP -LRB- to Harold. -RRB- You too, Buster. Stand over here. Lady, you're in a heap of trouble. I have you down here for several violations ; speeding, resisting arrest, driving without a license, driving a stolen vehicle, possession of a stolen tree. Where's the tree? MAUDE We planted it. COP Is this your shovel? MAUDE No. COP Possession of a stolen shovel. MAUDE Officer, I can explain. COP Lady, resisting arrest is a serious criminal offense. Under the state criminal code, section 545, paragraph 10 - B. MAUDE Oh, do n't get officious. You're not yourself when you're officious. That's the curse of a government job. COP -LRB- patiently. -RRB- Lady, is it true you're driving without a license? MAUDE -LRB- equally as patient. -RRB- Check. COP And that truck - is it registered in your name? MAUDE Oh no! Not in my name. COP Then whose name is it registered in? MAUDE Well, I do n't know. Do you know, Harold? COP Where are the papers? MAUDE I suppose they are in the truck. Are you going to take a lot of time with this? COP Wait here. MAUDE Because if you are. COP Lady! Be quiet. The cop goes over to the truck. We FOLLOW him as he sits in the front seat, opens the glove compartment, and begins looking through some papers. Suddenly he hears the start of an engine. He looks up. Maude is on the motorcycle, revving it up, and motioning Harold to get on board. MAUDE Grab the shovel, Harold. Harold hesitates. He looks over at the cop, who begins to get out of the truck. He makes up his mind, grabs the shovel, jumps on the seat behind Maude, and they both go careening off down the road. The cop takes out his gun. COP Stop! Or I'll shoot! He fires several times. CLOSEUP - MAUDE ON THE BIKE She hears the shots. MAUDE Oh! It's just like the Resistance. She begins maneuvering the bike in defensive zigzag patterns. LONG SHOT - THE HIGHWAY The cop, helpless, watches them disappear over the hill.", "INT. GLAUCUS' STUDIO - NIGHT The ice block is as we saw it the first night - unfinished and melting. Glaucus, bundled up in his winter clothes, falters towards it with a heavy hammer and chisel. He is fighting off sleep as only a very old man can. He manages a blow on the ice and then shuffles back to see its effect. He mumbles all the time. GLAUCUS The bitter dregs of Fortune's cup to drain - The Iliad. Almost finished. Got ta make it. Going to make it. Liberate Love. Set her free. He staggers to the statue and back again. Harold and Maude enter, laughing. MAUDE Oh, those motorcycles are awfully chilly. HAROLD Yeah. And it is cold in here. Hello, Glaucus. GLAUCUS Cold. Yes. Yes. Got ta turn up the heat. Excuse me. He turns up the heat. HAROLD Here's your shovel. GLAUCUS What? Oh yes. Shovel. Create. Verily these issues lie in the lap of the gods. Iliad. Just sit down for a minute. Glaucus wanders over to his couch and sits, still mumbling. GLAUCUS Not giving up. Just for a minute. Then once more up the hill. Harold walks over to the ice sculpture. HAROLD I think I see it. MAUDE Yes. It's almost there. Glaucus, his eyes barely open, gets up and shuffles in place as if he is walking over to the statue. He works his tools in the air and then shuffles in place as if he is walking back. He examines his work. He sits. GLAUCUS Yes. almost done. have a little rest. Not long. Just a little rest. then once more up the hill. He falls back slowly asleep. HAROLD I think he's asleep. Glaucus pops up. GLAUCUS Aha! Morpheus. I'll. He mumbles and makes an effort to raise his tools. His eyes close, but he is still fighting. GLAUCUS Gon na make it. Gon na make it. Make it. He drifts back against the cushions still holding the tools in his hand. He is finally asleep. Harold and Maude have been watching Glaucus's gallant battle. Maude smiles and turns to go. Harold looks at the sculpture. HAROLD The ice is melting. MAUDE Yes. HAROLD Do n't you think we should turn off the heat? MAUDE -LRB- brightly. -RRB- Why? There'll be a new block of ice in the morning.", "INT. MAUDE'S PLACE - NIGHT Maude and Harold are dressed in bright Japanese kimonos. They are relaxing on cushions in the Japanese nook after having just finished supper. Maude puffs pleasantly on a hookah. HAROLD I like Glaucus. MAUDE Yes, so do I. But I think he is a little. old - fashioned. Like a puff, Harold? HAROLD Well, I really do n't smoke. MAUDE It's all right. -LRB- she offers him the hose. -RRB- It's organic. HAROLD -LRB- smokes. -RRB- I'm sure picking up on vices. MAUDE Vice? Virtue? It's best not to be too moral. You cheat yourself out of too much life. Aim above morality. As Confucius says, `` Do n't simply be good. Make good things happen.'' HAROLD Did Confucius say that? MAUDE Well -. -LRB- she smiles. -RRB- - they say he was very wise, so I'm sure he must have. HAROLD You are the wisest person I know. MAUDE Me! -LRB- she laughs and shakes her head. -RRB- When I look around me I know I know nothing. I remember though, once long ago in Persia, we met a wise man in the bazaar. He was a professional and used to sell his wisdom to anyone willing to pay. His specialty for tourists was a maxim engraved on the head of a pin. `` The wisest,'' he said, `` the truest, the most instructive words for all men at all times.'' Frederick bought one for me and back at the hotel I peered through a magnifying glass to read the words - `` And this too shall pass away.'' -LRB- fluttery laugh. -RRB- Well, the wise man was right - if you remember that, you ca n't help but live life fully. HAROLD Yes. I have n't lived. -LRB- he suddenly giggles. -RRB- I've died a few times. MAUDE What was that? HAROLD -LRB- he is getting a little high. -RRB- Died! Seventeen times - not counting maiming. -LRB- he laughs. -RRB- Shot myself in the face once with a popgun and a pellet of blood. MAUDE -LRB- laughing with him. -RRB- How ingenious! Tell me about them. HAROLD Well, it's a question of timing, and the right equipment, and plenty of patience. You really want to hear about this? MAUDE Of course. HAROLD -LRB- he smiles. -RRB- Okay. Partly because of the pot, but mostly because he has found a friend, Harold opens up for the first time in his life. As he gets into the story he tells it with such animation and delight that we are amazed at all the fun and zest he has kept locked up inside him. HAROLD Well, the first time it was n't even planned. It was when I was at boarding school and they were getting ready for the school Centennial Celebration and they put all the fireworks and food and stuff in this room in the West Wing. Well, on the floor above they had the Chemistry Lab and I had to stay in and clean it up. So I thought I'd do a little experimenting. I got all this stuff out and began mixing it up. It was very scientific. I was measuring the amounts. Well, suddenly there was this big fizzing sound and this white kind of porridge stuff began erupting out of the beaker, and moving along the desk and falling onto the floor. It was making an awful mess. So I got the hose to try to spray it into the sink. I turned on the water and - POW! There was this massive explosion. Knocked me down. Blew out the floor. Boards and brick and flames leaping up. Singed my hair. Smoke everywhere. I got up, then this sound like bombs going off. It was the fireworks in the room below. And all this stuff came flying out the hole. PACHAU! Skyrockets and pinwheels. And fire balls all whizzing and bouncing. And I was just standing there stunned - I could n't believe it - just watching - being pelted by all these little pellets - turns out to be the goddamn popcorn spewed up from below. The whole place was a crazy inferno with the rockets and everything, and I could n't get to the door. But behind me was this old laundry chute, so I hopped in that and slid down that to the basement. When I got outside I saw that the whole top of the building was on fire and, of course, it was pandemonium with people running around and fire alarms ringing. So I decided to go home. When I get there my mother is having this big party so I creep up the back stairs to my room. Then there is this ring on the doorbell. It's the police. I creep over to the banister to see what they say, and they tell my mother that I had been killed in a fire at school. Well, everyone got very quiet. Harold has calmed down and speaks in a matter of fact way. HAROLD -LRB- continuing. -RRB- People were whispering and looking at my mother. I tried leaning forward to see her face but I could n't. -LRB- slowly. -RRB- She began to sway. She put one hand to her forehead. With the other she reached out, as if groping for support. Two men rushed to her side and then - with a long, low sigh - she collapsed in their arms. -LRB- pause. -RRB- I decided then I enjoyed being dead. Maude does n't say anything for a moment. Then she speaks softly. MAUDE Yes. I understand. A lot of people enjoy being dead. But they are not dead really. They're just backing away from life. -LRB- with a twinkle. -RRB- They're players - but they sit on the bench. The game goes on before them. At any moment they can join in. -LRB- she jumps up and shouts. -RRB- Reach out! Take a chance! Get hurt maybe. But play as well as you can. -LRB- she leads a cheer before the stands. -RRB- Go team, go! Give me an `` L.'' Give me an `` I.'' Give me a `` V.'' Give me an `` E.'' LIVE! -LRB- she sits down by Harold, quietly composed. -RRB- Otherwise you'll have nothing to talk about in the locker room. HAROLD -LRB- smiles. -RRB- I like you, Maude. MAUDE -LRB- smiles. -RRB- I like you, Harold. -LRB- pause. -RRB- Come, I'll teach you to waltz. Music comes in from nowhere. Harold joins Maude and, though they both realize how ridiculous they look waltzing in kimonos, they begin to dance, and thoroughly enjoy it. We go into a MONTAGE as they dance together, similar to the one Maude danced alone. They dance on the beach, the forest, the fields, the hills, and end up back in her apartment for the courtly finale.", "EXT. THE CHASEN'S BACK YARD - DAY Mrs. Chasen and EDITH FERN come out of the house and walk toward the garage area. Edith, the second computer date, is short, mousy, and looks like a female Don Knotts. MRS. CHASEN This way, Edith. Harold is out by the garage. He has a new car and he has been tuning it up. He's very mechanical. EDITH What kind of a car is it?", "EXT. THE GARAGE AREA - DAY They come around the corner. MRS. CHASEN It's a little MG roadster. She stops dead in her tracks at what she sees. MRS. CHASEN POV Harold is putting the final polish on the car. The car, however, has changed. It is now black, with a squared - off top, a long back, black velvet curtains, and silver trim. As Edith says. EDITH Oh. It looks like a hearse. -LRB- a pause. -RRB- Very nice. Compact. MRS. CHASEN -LRB- continuing despite the blow. -RRB- Edith, I'd like you to meet my son, Harold. Harold, this is Edith. eh? EDITH Fern. I'm very pleased to make your acquaintance. Harold nods a greeting and they shake hands. MRS. CHASEN Harold, I think you should go and wash up and meet us in the den. And remember what I said to you. Let's make Edith feel at home.", "INT. CHASEN'S DEN - DAY Edith and Mrs. Chasen are seated having coffee. MRS. CHASEN And what do you do, my dear? EDITH I'm a file clerk - Harrison Feed and Grain. MRS. CHASEN How interesting. EDITH Not very. MRS. CHASEN Oh. Well, what is it exactly that you do? EDITH I'm in charge of all the invoices for the southwest. We supply, for example, most of the egg farmers in Southern California. So you can imagine. She sips her coffee. MRS. CHASEN Yes. She sips hers. Harold enters. MRS. CHASEN Here's Harold now. No, do n't get up. Edith sits. Harold sits. A pause. MRS. CHASEN -LRB- continuing. -RRB- Edith was just telling me about her job. EDITH I'm a file clerk. MRS. CHASEN Yes. Henderson Feed and Grain. EDITH -LRB- corrects her. -RRB- Harrison. Harrison Feed and Grain. At Hamilton and Fourth. I'm in charge of the invoices. And I type up the schedule for the trucking fleet. MRS. CHASEN She supplies the whole southwest with chicken feed. EDITH -LRB- modestly. -RRB- Well, not all the southwest. Although we do have a large business. Barley was very big last week. Fifteen hundred. Harold pulls out a meat cleaver. His left hand rests on the table. With one great swoop he cuts it of at the wrist. Calmly he puts his amputated arm in his lap as Edith pauses in her story. Mrs. Chasen rolls her eyes and sighs. Edith loOkS at the bloody hand on the table and can not continue. EDITH bushels. She begins violent retchings and tumbles forward to the floor. Harold looks over at Mrs. Chasen. Mrs. Chasen looks over at Harold. INSERT CLOSEUP - UNCLE VICTOR - SAME AS IN SHOT 27 EXCEPT RIGHT PROFILE UNCLE VICTOR I'd put him in the Army, Helen.", "EXT. LONG SHOT - THE MEADOW - DAY Harold and Maude have just finished having a picnic. MEDIUM SHOT - THE MEADOW - DAY Maude is putting the things away. Harold lies on his back and looks at the sky. HAROLD Look at that sky. -LRB- pause. -RRB- It's so big. MAUDE It's so blue. HAROLD And beyond the blue is the blackness of the cosmos. MAUDE Spreckled with uncountable stars. The stars are shining right now. We just ca n't see them. Just another instance of all that's going on that is beyond human perception. HAROLD -LRB- he sits up. -RRB- Maude, do you pray? MAUDE Pray? No. -LRB- pause. -RRB- I communicate. -LRB- she smiles. -RRB- HAROLD -LRB- smiling. -RRB- With God? MAUDE With Life. They look at each other and smile. HAROLD This is really nice. Makes me feel like a kid. I want to do somersaults. MAUDE Well, why do n't you? HAROLD No. I'd feel stupid. MAUDE Harold, everyone has the right to make an ass out of themselves. You just ca n't let the world judge you too much. Harold shrugs `` Okay.'' He does a somersault in the grass. He laughs. HAROLD Want to join me in some cartwheels? MAUDE No. I feel more like - yodeling. HAROLD Yodeling? Maude YODELS. Loud and long. Harold joins in. Their combined voices ECHO across the valley and FADE OUT as we :", "EXT. THE BEACH AT SUNSET The sun sits on the horizon. We PULL BACK to include Harold and Maude sitting on a rock and looking out at the reddening clouds and sea. MAUDE -LRB- poetically. -RRB- It's sinking, Harold. Going over the horizon - where we are all going to go. It's getting dark. `` Let each man hold on to his candle and get a light where'er he can.'' HAROLD Where's that? MAUDE -LRB- breaking the mood. -RRB- From the guys who got the matches, of course. -LRB- she laughs. -RRB- HAROLD -LRB- smiling. -RRB- Boy! It sure has been a wonderful day. And you - you are beautiful. He takes her hand and kisses it. MAUDE Oh, Harold. You make me feel like a schoolgirl. HAROLD Shall I drop by tomorrow? -LRB- remembers. -RRB- Oh, I have a luncheon date. With this girl. MAUDE Oh. HAROLD I've never met her. My mother set it up. MAUDE Well, be kind. I've lived a long time, Harold, seen evil as well as good, and it has been my experience that kindness. As Maude is talking and looking out to sea, Harold looks down at her hand in his. She is not wearing a long - sleeved dress and we see a number tattooed on her skin : P - 876954. Maude does n't notice but Harold is visibly shocked. MAUDE -LRB- continuing. -RRB-. is what the world sorely lacks. Oh, look! Maude points and Harold looks out to sea. THEIR POV A sea gull flies across the reddening sky. TWO SHOT Harold still holds Maude's hand. MAUDE Dreyfus once wrote that on Devil's Island he would see the most glorious birds. Many years later in Britanny he realized they had only been sea gulls. She smiles at Harold and looks back out to sea. MAUDE -LRB- continuing. -RRB- To me they will always be - glorious birds. Harold keeps looking at Maude. The sun on the horizon begins slowly to sink.", "INT. CHASEN'S DEN - DAY Mrs. Chasen is talking to Harold. MRS. CHASEN Harold, I can not impress upon you too strongly the importance of this meeting. She is the last girl. The Computer Dating Company was reluctant to send anyone in view of what they've heard. Fortunately, I was able to demand they stand by their original agreement. But kindly remember this is your third and final chance. The doorbell rings. MRS. CHASEN Here she is, now. Please try to take this seriously, if not for your sake, at least for hers. Mrs. Chasen leaves. Harold grits his teeth, and breathes deeply. He is going to try. He goes to a mirror and straightens his tie. He hears approaching voices and he turns to greet them. Mrs. Chasen enters with SUNSHINE DORE, a stringy, long - haired actress. Harold goes up to meet her. MRS. CHASEN. says. Harold, I'd like you to meet eh, Sunshine Dore. Sunshine's an actress. SUNSHINE I like to think so. HAROLD How do you do? SUNSHINE Ca n't complain. MRS. CHASEN Well, I'll leave you two alone for a moment. I have to call my hairdresser. I'll bring back some drinks. Harold, perhaps Starlight would like a cigarette. SUNSHINE Eh, Sunshine. MRS. CHASEN. says. Oh, yes, of course. She exits. HAROLD Would you like a cigarette? SUNSHINE No, thank you. They stain my fingers. Pause. HAROLD Is Sunshine your real name? SUNSHINE Well, actually, it was the name of my drama teacher - Louis Sunshine. Perhaps you've heard of him. He was such an influence on the development of my instrument. That means my body - in theatre talk. Well, when I came to Hollywood I felt the need to express the emerging me in a new form, so I took on `` Sunshine.'' Dore is my real name. Well, Dore, actually. My, what a lovely place you have here. She goes to the piano. SUNSHINE -LRB- continuing. -RRB- Do you play? HAROLD No. I'm learning the banjo. Do you? SUNSHINE Oh, I studied the guitar. I had to give it up. Gave me calluses on my fingers. As an actress I ca n't afford to have a tarnished instrument. She picks up a photograph. SUNSHINE -LRB- continuing. -RRB- Oh, is this your father? HAROLD No. My uncle. SUNSHINE Oh, he's in the Army. I do so like the military, do n't you? Those uniforms make men look so virile. I did `` What Price Glory?'' in summer stock. I played Charmaine - with a French accent. She goes over to the mantelpiece. SUNSHINE -LRB- continuing. -RRB- Oh, what a wonderful collection of knives. May I see them? Harold gives up trying. HAROLD Certainly. He takes one off the wall. HAROLD -LRB- continuing. -RRB- This one is particularly interesting. It's a hari - kari blade. SUNSHINE Ohhh. What's hari - kari? HAROLD An ancient Japanese ceremony. SUNSHINE Like a tea ceremony? HAROLD No. Like this. With gusto he plunges the knife into his belly. He drops to his knees bleeding profusely. He continues the upper - cut and sidecut gouging with appropriate Oriental screams. He stops and tumbles forward - lifeless. Sunshine stands in awe. She slowly bends down. SUNSHINE Oh, that was marvelous, Harold. It had the ring of truth. Harold. Who did you study with? Oh, I'm sorry. I do n't want to break into your private moment. I know how exhausting true emotion can be. I played Juliet at the Sunshine Playhouse. Louie thought it was my best performance. She goes into Juliet. SUNSHINE -LRB- continuing. -RRB- What's here? A cup, closed in my true love's hand? Poison, I see, hath been his timeless end. Oh churl! Drink all, and left no friendly drop to help me after? I will kiss thy lips. Harold opens his eyes. He ca n't believe this. SUNSHINE -LRB- continuing. -RRB- Happily some poison yet doth hang on them - to make me die with a restorative. She kisses Harold, who immediately kneels up. SUNSHINE -LRB- continuing. -RRB- Thy lips are warm! Harold, startled, knocks over an ashtray. SUNSHINE -LRB- continuing. -RRB- Yea, noise? Then I'll be brief. Oh happy dagger! She takes stunned Harold's dagger, pressing the blade back and forth in the handle to see how it operates. SUNSHINE -LRB- continuing. -RRB-. Oh happy dagger! This is thy sheath. She stabs herself between the breasts. SUNSHINE -LRB- continuing. -RRB- There rest - She staggers to the couch, clutching the dagger. SUNSHINE -LRB- continuing. -RRB- - and let me die. She collapses and expires. Harold gets up. He has never seen anything like it. He wanders around the couch as if he was looking at an idiot. Mrs. Chasen enters with a tray full of drinks, sees Sunshine dead on the couch, and drops them all with a loud crash. She looks over at a bewildered Harold. Summing up the situation, she flings out an accusing arm. MRS. CHASEN Harold! That was your last date! CLOSEUP - HAROLD He does n't know what to make of it. CLOSEUP - MRS. CHASEN She is thoroughly steamed up. She makes a decision. INSERT CLOSEUP UNCLE VICTOR - SAME FRAMING AS SHOT 27 BUT LOOKING STRAIGHT ON UNCLE VICTOR I'd put him in the Army, Helen.", "INT. MILITARY ESTABLISHMENT - CLOSEUP - DAY Military file cabinet opened and hand removes a file.", "INT. A MILITARY CORRIDOR - CLOSEUP - DAY The file is being carried by someone and then dropped into an `` IN'' box.", "INT. A MILITARY OFFICE - CLOSEUP - DAY The file is taken out of the `` IN'' box, carried through a door, and placed on a desk.", "INT. UNCLE VICTOR'S OFFICE - CLOSEUP - DAY The file is opened by a pair of hands. We TILT UP to see whose hands they are. It is Uncle Victor who is studying the file with obvious pleasure.", "INT. THE CHASEN DEN - NIGHT Mrs. Chasen stands before a seated Harold looking like a queen about to proclaim banishment. -LRB- As we DOLLY into her during her speech, we hear the hint of a DRUM ROLL. -RRB- MRS. CHASEN In view of your recent actions, Harold, I find you have left me with no recourse but to listen to the solution proposed by your uncle. Consequently, I have instructed him to take the necessary measures for you to be forthwith inducted into the service, and, for your own good, to take up active duty with the United States Army. Harold is thunderstruck - and scared. MRS. CHASEN -LRB- continuing. -RRB- I hope they will have more luck with you than I.", "EXT. BACK YARD BEHIND MAUDE'S - DAY Maude is hoeing weeds in Madame Arouet's garden. Madame Arouet is working in the back. Harold comes up to Maude. HAROLD Maude, I must speak to you. MAUDE What is it, Harold? HAROLD They're going to draft me. In the Army. I'm going to be sent away. MAUDE But they ca n't do that. You have n't even got the vote. HAROLD But they have. MAUDE Well, do n't go. She obviously is not perturbed about Harold's plight and seems more interested in gathering weeds. MAUDE -LRB- continuing. -RRB- Perhaps war is part of the human condition. But it should n't be encouraged. Bring over that wheelbarrow, will you please? Harold goes to get the wheelbarrow. HAROLD But they'll put me in jail. MAUDE Really. Just put it there, Harold. Harold puts down the wheelbarrow and Maude starts forking the weeds into it. MAUDE -LRB- continuing. -RRB- They'd put you in jail, eh? Well, historically you'd be in very good company. -LRB- she laughs. -RRB- That's what my husband used to say when we were in the French Underground dealing with the Gestapo. Would you like to do a little raking? -LRB- she wipes her brow. -RRB- Work, I'm told, done with no selfish interest, purifies the mind. You sink your separate self and become one with the universal self. On the other hand, senseless labor is a bloody bore and should be scrupulously avoided. HAROLD -LRB- very concerned. -RRB- Maude, do you think you can help me? MAUDE What? With your skill and my experience. I think we can come up with something.", "INT. UNCLE VICTOR'S CAR - DAY Uncle Victor and Harold are seated in the back of the General's military limousine. As they ride along, Uncle Victor is being very expansive. Harold is being unusually attentive. UNCLE VICTOR Harold, I want you to look at me like your father in this matter. We'll spend the day just getting to know each other. Now, I know that you have no great desire to join the Army. Hell, I felt the same way myself when I started out. But believe me, Harold, once you get to know it, you'll love it. It's a great life. Look at me. A chauffeur. Respect. Money in the bank. -LRB- he looks at his empty sleeve. -RRB- It has its drawbacks. Like anything else, I suppose. But the Army takes care of you. You join up, and you've got a buddy for life.", "EXT. A LARGE CITY PARK - DAY The General and Harold have left the car and are walking along the path. There are not many people about, mostly mothers with small children. UNCLE VICTOR Good idea of yours to come out here, Harold. It's a lovely spot. HAROLD Thank you, Uncle. UNCLE VICTOR Call me `` sir,'' Harold. First thing you learn in the Army - an officer deserves your respect. HAROLD Yes, sir. UNCLE VICTOR Perfectly lovely. You know, this is what we're defending. Everything that's good and beautiful in the American way of life. Oh, there's some nut peace petitioner over there. Let's go off this way. Those crazy Commie bastards. I do n't know why we tolerate'em. Parasites. Harold looks over toward the peace petitioner. HAROLD Yes, sir.", "EXT. A TRAIL IN THE PARK - DAY UNCLE VICTOR Let's examine the facts on it. I say this country has been too harsh in its outright condemnation of war. I say you can point to many material advantages brought about by a crisis and conflict policy. Hell, World War II gave us the ballpoint pen. That's common knowledge. HAROLD During wartime the national suicide rate goes down. UNCLE VICTOR Is that a fact? Well, that fits in right along with everything I've been saying. War is not all black. HAROLD War is not all black. The trail splits in a fork. Harold, it seems, subtly leads the General to take the right. They walk on.", "EXT. ANOTHER PART OF THE PARK - DAY The General and Harold sit on a bench overlooking a reservoir. UNCLE VICTOR And so I ask you - why the hell did we give up on the Germans? Those damn politicians in Washington chalked them up on our side and the wars ever since have been a national disgrace. Hell, look at history. The two best wars this country has fought were against the Jerries. Now I say, get the Krauts on the other side of the fence where they belong, and let's get back to the kind of enemy worth killing and the kind of war this whole country can support. HAROLD -LRB- admiringly. -RRB- Jeez, sir. That's pretty strong stuff. They get up to go. UNCLE VICTOR Well, Harold, I've always been a man who speaks his mind. It's hurt me. I'm not liked in Washington. I know that. But I do have friends in high places. They walk off toward the reservoir.", "EXT. BY THE RESERVOIR - DAY They are seated under a tree, close to the dam. UNCLE VICTOR They came at me from all sides, hundreds of'em. We kept firing - Zat - Tat - Tat - Tat! `` Throw the grenades,'' I shouted. `` Mac, throw the grenades!'' `` He's dead,'' Joe said, and kept right on feeding me bullets. Zat - Tat - Tat - Tat! They kept falling, but they kept coming. Bullets whizzing all around me. Zot! Joe falls back with a neat red hole in his head. I thought I was done for. But I kept firing. Zat - Tat - Tat! Only one thought kept me going. Kill! Kill! For Mac, and Joe, and the rest of the guys. Kill! - a blinding flash. I wake up on a stretcher. `` Did we hold?'' I asked the medic. `` Yes, sir,'' he said, and I slipped into unconsciousness. HAROLD Jeez! That's a great story, UNCLE VICTOR Well, you'll soon have stories like that to tell of your own. HAROLD You think so, sir? UNCLE VICTOR Sure. Be able to tell your children. Something for them to look up to. Be proud of. HAROLD I hope so, sir. Golly I never knew it could be so exciting. UNCLE VICTOR It's the greatest excitement in the world. HAROLD -LRB- pensively. -RRB- To pit your own life against another. UNCLE VICTOR That's right. HAROLD To kill. The taste of blood in your mouth. UNCLE VICTOR The moment of truth. HAROLD -LRB- holding an imaginary rifle. -RRB- Another man's life in your sights. UNCLE VICTOR Yes. HAROLD -LRB- he fires. -RRB- ZAT! Harold begins going into a state of catatonic excitement. HAROLD Will they really teach me to shoot? UNCLE VICTOR Oh, sure. A variety of weapons. HAROLD And to use the bayonet? PACHOIE! UNCLE VICTOR Oh sure. HAROLD How about hand - to - hand combat? UNCLE VICTOR Yes. HAROLD To strangle someone. Choke him. Squeeze out his life between your hands. UNCLE VICTOR Eh? HAROLD How about to slit his throat? UNCLE VICTOR Well, I do n't. HAROLD I'd like that. You could see the blood squirt out. UNCLE VICTOR Harold, I think you're getting carried away here. HAROLD Sir, how about souvenirs? UNCLE VICTOR Souvenirs? HAROLD Of your kill - ears, nose, scalp, privates. UNCLE VICTOR Harold! HAROLD What's the chance of getting one of these? He pulls out a shrunken head. HAROLD -LRB- continuing. -RRB- Boy, to think I could maybe make my own. UNCLE VICTOR Harold! That's disgusting! MAUDE'S VOICE It certainly is. They both look up. Maude is standing by the tree with her umbrella and a large peace sign. The General gets up. UNCLE VICTOR Who are you? MAUDE I am petitioning for peace and I came over here to speak. HAROLD -LRB- jumping up. -RRB- Parasite! UNCLE VICTOR Harold! HAROLD Crazy parasite! Commie bastard! Get out of here. MAUDE Do n't you talk to me like that, you little foul mouth degenerate! -LRB- to General. -RRB- Really, sir, I thought that you at least. HAROLD Traitor! Benedict Arnold! Remember Nathan Hale, right, sir? UNCLE VICTOR Harold, calm down! This is. HAROLD She's a Commie pig. We're going to nail every last one. MAUDE Do n't you advance on me. HAROLD of you. You'll all end up like this. He holds out the shrunken head at her. MAUDE Filth! Filth! UNCLE VICTOR Lady, please. Harold. HAROLD -LRB- shaking the head. -RRB- Just like this. MAUDE -LRB- throwing away her sign. -RRB- Give me that. -LRB- she grabs the head. -RRB- I'm going to throw it in the sewer where it belongs. HAROLD -LRB- stunned. -RRB- She took my head. UNCLE VICTOR Stay where you are, Harold. HAROLD She took my head. MAUDE Keep away from me, you twisted pervert! UNCLE VICTOR Lady, please. Give back the head and let's have no trouble. Harold makes a grab for the head and Maude conks him with her umbrella. She turns and runs. Harold picks up the peace sign and wielding it like a club follows her. HAROLD I'll kill her. I'll kill her. Maude runs out on the edge of the dam, right past a sign saying `` Danger - No Trespassing.'' The water is churning below, making a deafening racket. Harold follows her. The General runs after him. Maude beats off Harold with her umbrella. The General joins the fray and most of the blows fall on him. Much ad - libbing. Despite only having one arm the General manages to pull the sign away from Harold and throw it over the dam. It is quickly churned up by the treacherous water. Harold is holding Maude's umbrella. Maude is gamely trying to hold on to it and at the same time keep hold of the shrunken head. The General joins the tussle for the umbrella. Furious ad libs as they scuffle. The General finally wrenches it free. A pause. Harold looks at Maude's position, standing next to the General. He reaches over and pulls the General's lanyard. The empty sleeve comes flying up for a salute, knocking Maude over the dam and into almost certain death amid the rushing water below. A long pause. The two look down but there is no sign of Maude. The General, his empty sleeve still at salute, looks around him. He ca n't believe it. Such a tragedy. Over nothing. It all happened so fast. How did it ever get so out of control? He looks over to Harold for some answers. Harold looks up. HAROLD I lost my head. CLOSEUP - UNCLE VICTOR On his face the shocking revelation that his nephew is a mental deficient. QUICK CUT MONTAGE Very fast shots of - The General's limousine taking off. - Some hands rubber - stamping a file. - The file closed and thrown into an `` Out'' box - The file being filed in a drawer. - The drawer being slammed shut.", "EXT. THE AMUSEMENT PARK - NIGHT Three dancing skeletons cackle uproariously. They are afixed to dungeon - like doors. Suddenly the doors fly open and a little cart carrying Harold and Maude comes bursting out. They are laughing.", "EXT. LONG SHOT OF THE HAUNTED HOUSE - NIGHT Harold and Maude get out of the little cart and walk toward the camera. HAROLD That was n't very scary. MAUDE No. It had nothing on this afternoon. HAROLD Oh, you were n't scared. MAUDE Scared? Swimming underwater with that oxygen device of yours. I was petrified. HAROLD Come on, you loved it. It was a new experience. They both laugh. HAROLD -LRB- continuing. -RRB- How about some candy floss? MAUDE Right on! It would n't be a celebration without it.", "EXT. AMUSEMENT PARK - NIGHT Harold and Maude are walking down the fairway, eating candy floss and obviously enjoying themselves very much.", "EXT. SHOT OF FERRIS WHEEL - NIGHT", "EXT. SHOT OF ROLLER COASTER - NIGHT", "EXT. SHOT OF MERRY-GO-ROUND - NIGHT", "INT. PENNY ARCADE ON THE PIER - NIGHT Harold and Maude are playing the hand - operated `` soccer game.'' Maude puts her whole self into it, cheering enthusiastically for every goal she makes. People around her, particularly a STAID BANKER and his SOCIETY WIFE, look on from their rather dull pursuits. In fact, it seems that Harold and Maude are the only ones having any fun. TIME LAPSE - TWENTY MINUTES LATER Maude and an ITALIAN GROCER have taken on the banker and his wife. The latter pair have really entered into the spirit of fun and are playing the game with joyous zest. A crowd around the table cheers the players on and, as is expected, Maude is the center of their delight.", "INT. PENNY ARCADE - NIGHT Back by the wall Harold looks at the group around Maude with open admiration. He turns to the machine by him, drops in a penny, and begins stamping out something in metal. Maude and the group play and laugh on in the background.", "EXT. THE END OF THE PIER - NIGHT Harold and Maude walk slowly to the edge. HAROLD You sure have a way with people. MAUDE Well, they're my species. They both laugh and stop at the edge. On the shore - the lights of the amusement park. Out in front of them - the black ocean and the stars. HAROLD Look at the stars. MAUDE Yes. They're old friends. HAROLD Do you think there is any life up there? MAUDE I do n't know. Perhaps. HAROLD Science thinks there is n't. That we are all alone in the universe. MAUDE We are alone - you and me and everybody. But we can look at those stars and maybe someone down the beach or across the sea in China is looking at them, too. Someone we do n't know and most likely will never see - that someone is breathing along with us. And the star - gazers of the past - from peasant to princes - and the star - gazers of the future - all of us breathing and looking up there. We are alone - but look at the stars and never feel lonely. HAROLD You should have been a poet. MAUDE Oh, no. But I should have liked to have been an astronaut. A private astronaut able to just go out and explore. Like the men who sailed with Magellan, I want to see if we really can fall off the edge of the world. -LRB- fluttery laugh. -RRB- What a joke it will be if like them I - She makes a circle with her arm. MAUDE -LRB- continuing. -RRB- - end where I began. HAROLD Maude. MAUDE Yes. HAROLD Here. He gives her the little piece of metal. MAUDE Oh, a gift. She reads it. MAUDE -LRB- continuing. -RRB- `` Harold loves Maude.'' She looks up. Harold is blushing. MAUDE -LRB- softly. -RRB- And Maude loves Harold. They both smile at each other. MAUDE Ohhhhh! This is the nicest present I've received in years. She kisses it and tosses it happily into the ocean. She turns back to Harold. His face is one of disbelief. He looks out to the ocean and then back to Maude. He begins to form the word `` Why?'' MAUDE So I'll always know where it is. Harold accepts that. Women, after all, are strange creatures. Maude smiles. MAUDE -LRB- continuing. -RRB- Come. Give me your arm. Let's go see the fireworks. Harold offers his arm and they walk off down the pier.", "EXT. THE NIGHT SKY The beautiful burst of a skyrocket.", "INT. MAUDE'S APARTMENT - NIGHT Harold and Maude sit at the piano. They are playing in duet the Love Waltz that they danced to. At the con - clusion they congratulate themselves delightedly. Harold gestures to the top of the piano. HAROLD Why are there no photographs in these frames? MAUDE I took them out. HAROLD Why? MAUDE They mocked me. They were representations of people I dearly loved yet they knew these people were gradually fading from me, and that in time all I would have left would be vague feelings - but sharp photographs! So I tossed them out. My memory fades, I know. But I prefer pictures made by me with feeling, and not by Kodak with silver nitrate. HAROLD I'll never forget you, Maude. -LRB- pause. -RRB- But I would like a photo of you. She laughs. MAUDE Well, let me see. She goes to the end of the bed and from beneath it, pulls out an old box. She opens it and looks about. MAUDE I have something somewhere. Let me see. She takes out some papers. MAUDE -LRB- continuing. -RRB- Oh, yes. Here. Take this. She pulls a photo from a document and hands it to Harold. MAUDE -LRB- continuing. -RRB- It's off my American visa. They both sit on the edge of the bed. The fire burns in the fireplace in front of them. HAROLD It looks like you. Thanks. MAUDE Harold, that picture is almost twenty - five years old. HAROLD You have n't changed a bit. I'll put it in my wallet. He drops a cardboard clipping and hurriedly retrieves it. HAROLD Oh, you're not supposed to see that. He turns away and puts them both in his wallet. HAROLD -LRB- continuing. -RRB- It's part of a surprise I'm planning for tomorrow night. It's going to be really. -LRB- he turns around. -RRB- Maude, you're crying. She holds the visa in her hand. MAUDE I was remembering how much this meant to me. It was after the war. I had nothing. except my life. How different I was then - and yet how the same. HAROLD You've never cried before. I never thought you would. I thought, despite anything, you could always be happy. MAUDE Oh, Harold. You are so young. She strokes his hair. The tears continue to fall. MAUDE -LRB- continuing. -RRB- What have they taught you? Yes. I cry. I cry for you. I cry for this. -LRB- the visa. -RRB- I cry at beauty - a first snow, a rose, a sunset. As she talks through her tears, Harold is very moved. He takes her hand. MAUDE -LRB- continuing. -RRB- I cry when a man tortures his brother. when he repents and begs forgiveness. when forgiveness is refused. and when it is granted. To cry is to laugh. To laugh is to cry. a uniquely human trait. And the main thing in life, my dear Harold, is not to be afraid to be human. They sit facing each other on the end of the bed. We see from the bed the fire glowing behind them. Harold brushes the tears from her eyes. He leans forward and kisses her lightly on the lips. They part for a moment. Then both lean forward and kiss again, break and fall back onto the bed and OUT OF CAMERA. The CAMERA ZOOMS SLOWLY FORWARD into the fire. HOLD. THE NIGHT MONTAGE - WITH MUSIC A lot of the sequence is soft focus, blurred edges, and supered with colored carnival lights. The images are not meant to appear overtly sexual but rather - lyrically sensual - and fun! HAROLD AND MAUDE together in a Ferris Wheel as it begins to rise to the heights. HAROLD AND MAUDE ON A MERRY - GO - ROUND holding hands across the aisle as their horses alternately go up and down. HAROLD AND MAUDE on a roller coaster as it speeds around a curve and plunges downhill. As it speeds around another curve we burst into : FIREWORKS A hundred skyrockets bursting in air, with much NOISE. The noise fades. HAROLD AND MAUDE lying on the grass, looking up at the fireworks reflected in their faces. Their heads are nestled against each other's shoulders. They look at each other and smile. Harold lifts his outside arm and lays it around his head. Maude puts her outside hand in his. They hold this position and stare into each other's eyes, as the CAMERA BEGINS A VERTICAL RISE. THE FIRE IN MAUDE'S APARTMENT at the same CAMERA POSITION that we went out on. The fire is now out. The grate is cold. It is daylight. We HEAR a cock crow.", "INT. MAUDE'S APARTMENT - DAY TIGHT SHOT of a hand picking cigarette ash into an ash - tray. We PAN over and see that it is Harold sitting up in bed, bare - chested, casually smoking. He takes a deep drag and blows the smoke out in a manner that is decidedly sexual. He smiles and looks down to his left. We PAN OVER to include Maude lying beside him, the covers demurely pulled up to her chin. She catches Harold's smile and blushes coyly.", "INT. CHASEN'S DEN - DAY Mrs. Chasen is on the phone. MRS. CHASEN Fay, darling, I know Rene will be furious but if you knew what I've had to put up with in the last couple of days. Harold enters. HAROLD Mother. MRS. CHASEN Not now, Harold. -LRB- into the phone. -RRB- You ca n't put me down for Monday? HAROLD Mother. MRS. CHASEN Harold, please! I'm on the phone. HAROLD Mother. I'm going to get married. MRS. CHASEN Fay, I'll call you back. -LRB- she hangs up. -RRB- What did you say? HAROLD I'm getting married. MRS. CHASEN -LRB- pause. -RRB- To whom? HAROLD To a girl. Here. He takes his wallet with the series of photos on it, flips to one, and hands it to Mrs. Chasen. She looks at it for a moment. She looks up. MRS. CHASEN I suppose you think this is very funny, Harold. HAROLD What? MRS. CHASEN A sunflower? She hands Harold back the wallet. It is indeed the picture of a large sunflower, clipped from a dealer's catalog. Harold, a little ruffled, finds the correct photo of Maude and hands it to his mother. Mrs. Chasen examines it. She squints her eyes to clear her vision and looks again. MRS. CHASEN -LRB- in a strained voice. -RRB- You ca n't be serious? CLOSEUP - HAROLD He smiles proudly.", "INT. PSYCHIATRIST'S OFFICE - DAY Mrs. Chasen is lying on the couch. She turns to the psychiatrist. MRS. CHASEN He's serious.", "INT. UNCLE VICTOR'S OFFICE - DAY Uncle Victor sits at his desk. A picture of the Presi - dent of the United States is over his right shoulder. He is addressing the camera as the President addresses the nation. UNCLE VICTOR -LRB- a painful confrontation. -RRB- Harold, your mother has spoken to me about your marriage plan, and though normally I have nothing against marriage, I do n't think this is eh. quite normal. Now, I do n't want to remind you of the unpleasant incident that occurred the other day. I think it is best if we consider that forgotten. But I do think that it would be wisest for you not to leave the house or indulge in any kind of activity that would be newsworthy. This marriage would attract attention, and, frankly Harold, I do n't think you need a wife. You need a nurse.", "INT. PSYCHIATRIST'S OFFICE - DAY The psychiatrist sits at his desk. A picture of Sigmund Freud is over his right shoulder. He too seems to be addressing the nation. PSYCHIATRIST There's no doubt, Harold, this impending marriage adds another chapter to an already fascinating case. But let us examine it, and I think you'll realize there is a simple Freudian explanation for your romantic attachment to this older woman. It is known as the Oedipus Complex, a very common neurosis, particularly in this society, whereby the male child subconsciously wishes to sleep with his mother. Of course, what puzzles me, Harold, is that you want to sleep with your grandmother.", "INT. PRIEST'S OFFICE - DAY It is the same little old priest we have met earlier. He sits at his desk and addresses the camera like a TV audience. A picture of the Pope is over his right shoulder ; a picture of Jesus Christ over his left. PRIEST -LRB- very reasoned and slow. -RRB- Now, Harold, the Church has nothing against the union of the old and the young. Each age has its own beauty. But a marital union is concerned with the conjugal rights. And the procreation of children. I would be remiss in my duties if I did not tell you that the idea of -. -LRB- he swallows. -RRB- - intercourse - the fact of your young, firm -. -LRB- growing disturbed. -RRB- - body commingling with the withered flesh, sagging breasts, and flabby buttocks - makes me -. -LRB- falls apart. -RRB- - want to vomit.", "INT. CHASEN'S DEN - CLOSEUP - HAROLD - DAY HAROLD. says. But you did n't ask if I love her. INSERTS - THREE FAST CLOSEUPS of Uncle Victor, the psychiatrist, and the priest, as they register a chagrined reaction to Harold.", "INT. CHASEN'S DEN - DAY The CLOSEUP HAROLD in Shot 152 is PULLED BACK to include Mrs. Chasen. MRS. CHASEN Love? Love? What do you know about her? Where does she come from? Where did you meet her? HAROLD At a funeral. MRS. CHASEN Oh. That's wonderful. I get an eighty - year - old pallbearer for a daughter - in - law! Be reasonable, Harold! You're dealing with your life! What will people say?! HAROLD I do n't care what people say. MRS. CHASEN You do n't care! `` Miss Shroud of 1890 Weds the Boy of a Thousand Deaths!'' Listen to me. Harold gets up to go. MRS. CHASEN What are you doing, Harold? You ca n't leave me. She follows him to the door. MRS. CHASEN -LRB- continuing. -RRB- Where are you going? He turns at the door. HAROLD I'm going to marry the woman I love. MRS. CHASEN Harold! A pause. MRS. CHASEN -LRB- continuing ; quietly. -RRB- This is insane. HAROLD Perhaps it is. He leaves.", "INT. MAUDE'S APARTMENT - NIGHT In the hallway Harold and Maude are giggling as Harold finishes putting a blindfold around Maude's eyes. HAROLD I hope that is n't too tight. Okay. Here we go. He opens the door leading her by the hand. MAUDE Oh, I love surprises! Makes me feel so - chiffon!", "INT. MAUDE'S APARTMENT - THE MAIN ROOM The door opens and Harold leads in Maude. He stands Maude in front of the CAMERA and with theatrical bravado removes the handkerchief. She blinks and looks around. A radiant joy fills her face. MAUDE'S POV The room is filled with over a hundred sunflowers. Hanging over the fireplace is a banner saying : `` HAPPY BIRTHDAY, MAUDE'' MED. SHOT - HAROLD AND MAUDE MAUDE Oh, Harold, it is dazzling. They are all so. so beautiful! Harold begins humming the Love Waltz. HAROLD This way, m ` lady. He dances Maude over to the table. HAROLD -LRB- continuing. -RRB- Supper for two. MAUDE Oh, you've thought of everything. And champagne. HAROLD -LRB- imitating her. -RRB- It's all right. It's organic. MAUDE Oh, Harold. -LRB- fluttery laugh. -RRB- HAROLD For you. He hands her a single daisy in a vase. Maude takes out the daisy and smiles. HAROLD -LRB- continuing. -RRB- And after dinner, one more surprise. He puts a tiny ring box on the table. HAROLD -LRB- continuing. -RRB-. which I hope will make you very happy. MAUDE Oh, I am happy, Harold. Ecstatically happy. I could n't imagine a lovelier farewell. HAROLD Farewell? MAUDE Why yes. It's my eightieth birthday. HAROLD But you're not going anywhere, are you? MAUDE Oh yes, dear. I took the pills an hour ago. I should be gone by midnight. CLOSEUP - HAROLD He ca n't believe it. CLOSEUP - MAUDE She smiles. CLOSEUP - HAROLD He believes it.", "EXT. DOWNTOWN STREET - NIGHT With SIRENS WAILING, an ambulance tears around a corner. Cars pull over as it speeds down the street.", "INT. THE AMBULANCE - NIGHT Maude is lying down. She holds the daisy in her hand. She would be perfectly happy but for her concern over Harold, who is highly overwrought and crying desperately. He is kneeling beside her. The SIRENS WAIL loudly outside. MAUDE Oh, Harold! What a fuss this is. -LRB- fluttery laugh. -RRB- So unnecessary. HAROLD Maude, please. Do n't die. I could n't bear it. Please, do n't die. MAUDE But, Harold, we begin to die as soon as we are born. What is so strange about death? It's no surprise. It's part of life. It's change. HAROLD But why now? MAUDE I thought eighty was a good round number. She giggles. MAUDE -LRB- continuing. -RRB- I feel giddy. HAROLD But Maude, you do n't understand. I love you. Do you hear me? I've never said that to anyone in my life before. You're the first. Maude. Please do n't leave me. MAUDE Oh, Harold, do n't upset yourself so. HAROLD It's true. I ca n't live without you. MAUDE -LRB- smiles warmly. -RRB- `` And this too shall pass away.'' HAROLD Never! Never! I'll never forget you. I wanted to marry you. Do n't you understand! I love you. I love you! MAUDE Oh! That's wonderful, Harold. Go - and love some more.", "EXT. THE PARKING LOT OF HOSPITAL EMERGENCY - NIGHT The ambulance SCREAMS in and stops. The two attendants open up the back. They slide Maude onto a gurney and wheel her toward the door. HAROLD Hold on, Maude! Hold on! We'll be there soon. Please, just hold on. He runs ahead. MAUDE Hold on? Hold on? -LRB- fluttery laugh. -RRB- Oh, Harold, how absurd. Harold goes to push open the doors. They open auto - matically. Maude is wheeled through.", "INT. AT THE EMERGENCY RECEIVING DESK - NIGHT A feisty, old, redheaded NURSE is explaining operations to a rather simpleminded STUDENT NURSE. A GANGLING INTERN with horn - rimmed glasses looks on. Maude enters on the gurney. The ambulance men move off to the back counter and talk as they fill out their forms. Harold is almost hysterical. Maude, on the other hand, is very calm. She holds the daisy and hums to herself Maude's Song. -LRB- NOTE : This scene goes very fast with much of the dialogue dovetailed and ad libs overlapping in the background. -RRB- HAROLD Please. There's been an accident, an overdose of pills. We've got to see a doctor. It's an emergency. HEAD NURSE All right, now go ahead and get the particulars. STUDENT NURSE Eh, what's your name? HAROLD It's not me. It's her. HEAD NURSE It's better to begin by asking last name first, then first name, then middle name or initial, if any. It saves time. STUDENT NURSE What is your last name? MAUDE Chardin. Dame Marjorie. But you may call me Maude. HAROLD Please! She has got to see a doctor right away. HEAD NURSE Young man, perhaps you ought to wait in the waiting room. STUDENT NURSE How old are you? MAUDE Eighty. It's my birthday. STUDENT NURSE Oh, many happy returns. MAUDE No. I do n't think so. HAROLD You do n't understand. She's taken an overdose of pills two hours ago. She has n't got much time. The intern creeps round from behind. INTERN Could I have your signature on this? It's just a formality. MAUDE Delighted! I like your hair so much. She signs. INTERN It's in case of damage claims, you know, so we - the hospital - wo n't be responsible for. HEAD NURSE -LRB- to student nurse. -RRB- Always use a ballpoint pen. It's more efficient. HAROLD Please, do n't you realize? She is dying. MAUDE Well, not dying, actually. I'm changing. You know, like from winter to spring. Of course, it is a big step to take. INTERN Not that anything regrettable is going to happen. It's just regulations. HEAD NURSE Well, then, perhaps you'd better skip the preliminaries and get to the important section. STUDENT NURSE All right. Ah, what is your Social Security number? INTERN Purely a legal safeguard. Nothing personal, you understand. HEAD NURSE No. Ask about the insurance. The hospital insurance. STUDENT NURSE Do you have any insurance? Blue Cross? Blue Shield? MAUDE Insurance against what? STUDENT NURSE No insurance. She notes it down. HAROLD This is madness. HEAD NURSE I'm sorry but there is always a two - hour wait for the psychiatrist. INTERN It's nothing personal. It's my job. A DOCTOR and TWO NURSES enter. DOCTOR What's the trouble? HEAD NURSE An overdose of drugs. STUDENT NURSE Do you have a welfare plan at your place of employment? MAUDE I'm retired. HAROLD Doctor, please. She has taken these pills. You've got to do something. DOCTOR All right. Take her in there. They start wheeling her away. INTERN It's nothing personal. STUDENT NURSE And who's the next of kin? MAUDE Humanity. She holds the daisy in her hand. She waves to Harold as they push her through the doors. MAUDE Farewell, Harold. It's been all such fun. The doors swing shut. She is gone. Harold stands alone.", "INT. HOSPITAL WAITING ROOM - NIGHT TO DAY CAMERA LOCKED DOWN. Harold sits on a couch. To his right is a window, to his left a chair and a lighted lamp. He waits. SHOT Harold sits in the chair. He waits. ANOTHER ANGLE Harold stands by the window. It is dawn. The lights go out. It is daylight. We HEAR the laughter of a baby. CLOSEUP - HAROLD He is looking out the window. HAROLD'S POV Down on the lawn we see a MOTHER playing with her BABY. He is squealing with delight as she lifts him high into the air again and again.", "EXT. THE HOSPITAL LAWN - CLOSEUP - DAY of the mother and the laughing baby. THEIR POV We see Harold standing forlorn at the window. ANOTHER ANGLE The doctor comes up to speak to him. The doctor shakes his head. THEIR POV Harold turns back to the window. The doctor leaves. All the time the baby is laughing. CLOSEUP - HAROLD We see Harold through the window screen. He is crying. He can HEAR the baby's laughter. He turns and walks away.", "INT. HOSPITAL CORRIDOR - DAY Harold is crying. He walks down the hospital corridor. HIS POV - THE MATERNITY WARD He passes the maternity ward. Laughing parents pointing at screaming infants. Their noise overrides the laughing baby and joins the rising intensity of the MUSIC. BACK TO HAROLD Harold walks faster. His face is drawn with pain and tears. We TRACK before him. He looks left and sees : A WOMAN in a room, delirious with pain. A MAN in disheveled pajamas walks from his room like a bewildered child, dribbling food down his front. BACK TO HAROLD He keeps walking fast. He looks right and sees : A FAMILY GROUP who have just been told of a death. They cry in each other's arms. A TEN - YEAR - OLD BOY confused, looks up at them, and begins to sob.", "EXT. A SEA CLIFF ROAD - DAY Harold's mini hearse swerves around the corner at high speed. Dust rises and tires screech. On the TRACK the crying has stopped but the MUSIC is building to a new climax.", "INT. HAROLD'S HEARSE - DAY Harold, ignoring the tears rolling down his cheeks, grips the wheel hard and drives like a man with an unrelenting purpose.", "EXT. THE ROCKS AT THE BOTTOM OF THE CLIFF We see them from the car window. ANGLE - THE CAR dangerously close to the edge. CLOSEUP - HAROLD He seems possessed. LOW ANGLE SHOT FROM THE FRONT BUMPER OF THE CAR The road rushes past as we maneuver around treacherous curves.", "EXT. THE ROCKS AT THE BOTTOM OF THE CLIFF CLOSEUP - HAROLD He makes a sudden right - hand turn and drives out on a promontory toward the sea. LOW ANGLE SHOT FROM THE FRONT BUMPER OF THE CAR We see dirt and grass race beneath us - We bump over rocks - ANGLE We see the edge. ANOTHER ANGLE We reach the edge of the cliff - we plunge off into space.", "EXT. THE PROMONTORY - EXTREME LONG SHOT - DAY The little hearse falls from the cliff, crashing at the bottom, and bursting into flame.", "EXT. ON TOP OF THE CLIFF - DAY We look down at the burning vehicle. We HOLD and watch it burn. LONG SHOT Gradually the fire dies down. Suddenly we hear the fumbled pluckings of Maude's Song on a banjo. It stops. PANNING SHOT We PAN up left and there is Harold as large as life. He takes a look over the cliff. HIS POV His hearse is still quietly burning. BACK TO HAROLD He wipes his nose with the back of his hand and tries again on the banjo. He barely gets the melody started before he is lost. Summoning up all his concentration, he tries again, and this time he manages to get the fingering right. He continues playing and turns away from the edge.", "EXT. TRACKING SHOT IN FRONT OF HAROLD - DAY He started slow but now he is gradually beginning to play the song in its original upbeat tempo. He gets better and better at it. The song is very catching and Harold's tear - stained face registers what could be a smile. He walks by the CAMERA and we turn with him, and HOLD. A full orchestra joins in the playing and we watch Harold amble down the road, strumming along, until he is only a small figure in the distance. FADE OUT. THE END" ]

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[ "INT. CAR DRIVING DOWN COUNTRY ROAD - DAY KIRSTY GOODING looks out the passenger window as the trees go whizzing past. She's attractive, late twenties, warmly sophisticated. Something makes her smile. She turns to the driver and thinks real hard as she says this. KIRSTY Okay. Cubic root of nine thousand two hundred and sixty one. TREVOR is her husband, late twenties as well. God gave him brains and beauty. He has used them both prodigiously. TREVOR Twenty one. Why do we have to do this now Kirsty? KIRSTY Shut up and play darling. Your turn. TREVOR Five hundred ninety two thousand seven hundred and four. KIRSTY Uh. eighty two? TREVOR Eighty four. Kirsty takes a calculator out of her purse and double checks the math. KIRSTY You win! Okay pull over. TREVOR -LRB- looking at his watch. -RRB- But. I thought. KIRSTY -LRB- laughing. -RRB- If what I've heard is true this could be the last time for a long long time. Besides we've got a whole seven minutes before the next one. Clock's ticking. Tick - tock. Trevor waits a moment to see if she's kidding. KIRSTY -LRB- through clenched teeth. -RRB- PULL OVER NOW. Then pulls over to the side of the road. Kirsty reaches over, quickly unzips his pants immediately goes down on Trevor OUT OF FRAME. He reacts accordingly. A little pleasure, utter shock. KIRSTY'S VOICE -LRB- from BELOW FRAME. -RRB- Honey what's wrong? Kirsty rises INTO FRAME once again. TREVOR What is n't wrong? Why are you doing this anyway? KIRSTY -LRB- self - conscious. -RRB- I'm. I'm doing a very special thing here. And you ca n't even. respond? TREVOR Sorry honey the present situation is n't exactly fodder for an erection. Should n't we be getting to the hospital? FULL ON Kirsty. For the first time WE SEE her big pregnant belly sticking out. She looks at Trevor innocently. KIRSTY I was going to keep breathing you know. You think I'm an amateur or something? Trevor stuffs himself back in his pants, puts the car in gear and presses the accelerator. TREVOR Just concentrate on the task at hand please. Listen to me. You should be giving ME this lecture. KIRSTY You've been cheating on me have n't you? TREVOR Yes I had a quickie with the neighbor during your last contraction. KIRSTY Roughly two thirds of married men who cheat start during the eighth month of their wives' first pregnancy. TREVOR I would never cheat on you. Not while you're pregnant now you know that. KIRSTY -LRB- features tightening. -RRB- Okay. uh oh here comes another one. TREVOR Share the pain Kirsty. She takes Trevor's hand and squeezes as hard as she can. IN A SOLVED RUBIC'S CUBE sitting between them. Do we need this vision of the solved rubics cube?", "EXT. ROAD - DAY The car is approaching a bridge.", "INT. CAR - DAY Trevor takes his hand off the wheel to look at his watch. TREVOR -LRB- CONT'D. -RRB- One fifteen. KIRSTY -LRB- in dire pain. -RRB- Oh God. Trevor, I think my water just broke. Trevor grabs the wheel again. Kirsty GASPS. KIRSTY -LRB- CONT'D. -RRB- Oh my God. It's coming out. TREVOR What? KIRSTY THE BABY IS COMING OUT! I CAN FEEL IT! SONOFABITCH IT HURTS! AAAGGGGHHH! Trevor looks at her, trying to stay calm. TREVOR Okay Kirsty do n't panic. Just keep breathing! DO N'T PANIC! Put the seat back and hold on to something. Were almost there! Kristy's hand moves down the along side the seat between the door and she plunges back with the seat. She looks at Trevor wide eyed. Shes about to give birth in a Chevrolet. KIRSTY OH MY GOD TREVOR! It hurts! -LRB- breathing heavily. -RRB- oh my God, Oh my God. Trevor, It's coming out. TREVOR This is n't happening. Kristy starts to convulse with pain. She begins to tremble and her arms flail about in an attempt to ease her discomfort. She grabs Trevors arm for support. TREVOR Honey, take it easy. Your gon na be alright. Kristy becomes more violent, kicking her legs up onto the dashboard. She starts grabbing Trevors arm a little more violently, causing Trevors to weave a bit on the road as he recoils.", "EXT. CAR DRIVING DOWN COUNTRY ROAD - DAY The car lunges to the side of the road and weaves a bit in the gravel. Up ahead a bridge approaches.", "INT. CAR - DAY Trevor regains control of the car. TREVOR -LRB- cont'd. -RRB- Kristy! Take it easy. everythings gon na be alright. Com ` on, start the breathing, with me. come on. One, two - three, and blow. Trevor starts the lamanns method alone, as Kristy appears to have passed out from the pain. She has her head leaned away from him and is limp in the passengers seat. TREVOR -LRB- cont'd. -RRB- Krist. Honey. Kristy! Kristy does n't answer. Trevors puts his arm on her and shakes her. She does n't react. TREVOR -LRB- cont'd. -RRB- Kristy! Honey wake up! Trevors attention is now on his unconscious wife rather than the two lane road which stretches across the bridge. TREVOR -LRB- cont'd. -RRB- Honey, wake up. Please wake up. And with that Kristy's does exactly that. She lunges toward him in a violent spasm and scares the shit out of him -LRB- and us -RRB- which causes Trevor to now completely lose control of the car.", "INT./EXT. CAR - DAY The rest is a blur. Trevor loses control of the steering wheel. Kirsty SCREAMS. Their car skids from one side of the bridge to the other - careening toward the guardrail - SMASH! The car is plummeting toward the river below. Trevor and Kirsty brace themselves. The car hits the surface.", "INT. RIVER, UNDERWATER - DAY Trevor flounders through a disoriented flurry of bubbles. He breaks the surface and gasps for air. Getting his bearings he see the car bobbing on the surface, the current is separating him from his wife. Treading water, he looks out at the car and there she is trapped inside. Kirsty Still belted to her seat. Her eyes are wide with desperation, breath quickening, sinking fast. Kristy pounds the window with her hands, trying to get out. She's trapped. Apparently giving in, she presses a hand against the windshield just before the car disappears under the surface.", "EXT. SHORE - DAY Trevor paddles hard to the shore. Exhausted, he crawls onto the shore underneath the bridge they just jumped. Trevor stands trying to process what just happened in the last fifteen seconds. He screams out for his wife, and to what has just happened. TREVOR Kristy! Kristy! Trevor drops to his knee's in distress. TREVOR -LRB- cont'd. -RRB- Oh my God, Kristy! Please Kristy. -LRB- frantically. -RRB- I'm so sorry, Kristy. He hears something from above and looks up. A chunk of the bashed - up guardrail from the bridge has just snapped off and is sailing right down toward him - TREVOR BLACKS OUT JUST AS THE THING HITS HIM WHITE LIGHT FLOODS HIS VISION.", "INT. HOSPITAL ROOM - DAY Trevor's eyes blink open, darting left and right. He is on a bed, his head bandaged. AN ANGULAR NURSE ENTERS the room, walking up to Trevor's bed. TREVOR Where is she? Where's Kirsty? The Nurse grabs Trevor's right arm and straps it to the side of the bed. She is n't exactly one of God's gentler creatures. TREVOR Hey, what are you - She moves to Trevor's legs, strapping them down as well, then his other arm. By now SEVERAL SURGEONS ENTER the room, features obscured by surgical masks. The Nurse fastens a clamp around Trevor's head, attaches it to the bed. Trevor is completely discombobulated. The surgeons gather behind Trevor's bed. CLOSE ON TREVOR'S FACE as he struggles to see what's happening back there but it's useless. He can not move a muscle. He hears a sickening SAWING noise and his eyes bulge in horror. WIDE as the doctors calmly lift Trevor's freshly sawed cranium from his head exposing his brain. The CHIEF SURGEON - a large unshaven man with magnifying lens alreaday in place make his eyes enormous and his face grotesquely distorted. He walks up, presented with a tray full of evenly arranged pins. He cranks up the magnification of his lenes which make his eyes appear even larger. Though no one speaks his name his name tag reads Dr. Barker. TREVOR What are you people doing?! The Chief Surgeon takes one of the pins and gently pushes into a Trevor's frontal lobe. TREVOR -LRB- CONT'D. -RRB- What's happening to -! Trevor's eyes glaze over and his jaw relaxes. The chief surgeon speaks in an english accent. CHIEF SURGEON As you can see I just accessed the speech center, temporarily shutting down all verbal ability. As the Chief Surgeon continues he takes several more pins off the tray. CHIEF SURGEON -LRB- CONT'D. -RRB- The goal is find the exact point in the brain where moral decisions are made, the place where right and wrong is distinguished. In exploring this Morality Center I will most likely be triggering memories, disrupting the unconscious. Our patient may experience some distress during the proceedings but they are not due to pain. It is merely our patient - recalling his past. Chief Surgeon slips another pin into Trevors exposed brain. CHIEF SURGEON -LRB- cont'd. -RRB- As he was thrown into the lake, where the beast and the false prophet had been thrown. The Chief Surgeon voice lowers and his eyes turn black. The eye magification no at a hideous level, showing jet black eyes. CHIEF SURGEON -LRB- cont'd. -RRB- Where you will be tormented day and night for ever and ever. -LRB- rev. 20:10. -RRB- Trevor looks at the frowning nurse who is watching over him. Chief Surgeon sticks a needle into another spot on Trevor's brain. TREVOR'S POV : The nurse is suddenly a pale gargoyle with blackened eyes. Trevor opens his mouth to scream and - IN A BURST OF WHITE LIGHT, AN ANGELIC WOMAN is now standing before him. She is bathed in a haze of white light. ANGELIC WOMAN Well? What do say Trevor? Que pasa? Trevor relaxes. His bindings are gone. The gargoyle nurse is gone. The surgeons are gone. And his brain is sitting safely within his inviolated skull, upon which now sit a few electrodes. The bandage is no longer there. But from his pain wracked expression we know the pain in his head is still very real. He reaches for his head, makes sure its all intact. TREVOR Where do I start? ANGELIC WOMAN How's the old noggin? Any change in the intensity? She touches him gently. ANGELIC WOMAN -LRB- cont'd. -RRB- Can you describe the pains? Trevor looks up. The angelic woman smiles back at him. She's in scrubs, a stethoscope dangling from her neck. Trevor winces. TREVOR I'm not sure. How about a jackhammer in the Occipital lobe? She picks up a pad and scribbles something on it. Trevor notices she's wearing a nameplate. Dr. ALLISON DORMERE. TREVOR Are you a dream too? ALLISON Still hallucinating as well. Hmm. TREVOR What just happened to me anyway? It looked like a dream but it felt like reality. ALLISON It's the morphine Trevor. You're on so much of it, you could be asleep and dreaming even with your eyes wide open. Terevors quickly recalls the accident. Fearing the worst. TREVOR Where's Kirsty? Where's my wife? ALLISON -LRB- confused. -RRB- Your wife? AN OLDER DOCTOR walks in. AMBROSE. He gives Trevor an icy look, then looks at Trevor's chart. ALLISON -LRB- to Ambrose. -RRB- Still a little hazy. He's still in pain too, even after the morphine. I recommend we admit him. At least for another day. -LRB- leaning in, sotto. -RRB- He just asked for his wife. AMBROSE Well I ca n't find any abnormalities. I think we're ready for discharge. ALLISON But, Dr. Ambrose - AMBROSE -LRB- looking up at Trevor. -RRB- I think it's time to ween you off these painkillers too. Would n't want you to develop a dependency to them. You might do things like come to the hospital for no reason other than to get a fix, would n't you? Ambrose gives Trevor a fatherly smile then EXITS, not even looking at Allison. Allison watches him go, then turns back to Trevor. then smiles perkily. ALLISON Well looks like you're going home! Hope you brought your bus pass.", "INT. BUS - NIGHT Trevor starts nodding out. The bus is practically empty. TWO BLACK CHILDREN a boy and a girl sit across from Trevor. A CREEPY OLD WOMAN sits further back, knitting something. A CHURCH BELL RINGING causes Trevor to wake again up, wincing at the sound. As the church passes the BELL becomes louder and louder. Trevor hears LAUGHTER and looks up at the children. The girl and her brother seem to be play - fighting over a toy they hold between them. Trevor looks at the toy getting stretched this way and that. TREVOR Do you kids mind keeping it down? The creepy old woman speaks up. OLD WOMAN Aww let them be. They're only kids. Trevor notices what the Old Woman is knitting is a baby's bootie. As the children continue to laugh at him Trevor stares at the bootie tears welling up.", "INT. TREVOR'S APT. - NIGHT Trevor lives in a dingy place, one step up from poverty - level. Funny thing is this used to be a nicer place. We see remnants of a feminine touch long since past. Dirty dishes sit in the sink. A cockroach skitters across the kitchenette. Trevor sits at his TV playing an extremely violent videogame. We're talking heads getting blown off, bodies exploding, limbs being severed. As the end ends a DEMONIC VOICE chuckles from the TV. DEMONIC VOICE FROM TV YOU LOSE. The screen flashes TRY AGAIN? Trevor takes a swig of beer and sits back in the easy chair looking at something atop the TV. A picture of Kirsty.", "INT. TREVOR'S KITCHEN - NIGHT Trevor looks through an old photo album. Pictures of him and Kirsty. Some pictures of him. A lot of pictures of Kirsty. Smiles, smiles, smiles. He stops at one close up of them mugging at a camera they've pointed on themselves. All we see is their faces, the rest is dark and blurry, except for one thing. A small shadowy object Kirsty is holding.", "EXT. CUBIC ROUTE ACTUARIAL RESEARCH - DAY Dressed in a button down shirt and tie, Trevor walks up to the pale utilitarian box - like structure.", "INT. CUBIC ROUTE, BULLPEN - DAY It is a maze of cubicles iced by harsh fluorescence. It is a mill of data research, where the TAPPING of fingers on computer keypads never ends.", "INT. TREVOR'S CUBICLE - DAY no thanks to Trevor, who has already resumed his head - in - hands position at his desk. He rubs his eyes, seemingly blinded by the screen staring back at him. A MAN Trevor's age rolls up on his office chair beside Trevor, banging into the desk. BRET. Trevor's co - worker and cubicle mate. BRET Trevor what is the metric probability of you getting any work done at all today? TREVOR Hey Bret. Christ, my head feels like a split coconut. BRET Dude there is a track on the carpet between here and the bathroom. It was made by your ass. You've been dragging it all fucking week. What happened to you yesterday? Bret eyes Trevor suspiciously. Then smiling. BRET -LRB- cont'd. -RRB- You never came back after lunch. Did you get a piece o'ass, you bastard? TREVOR Give me a break. I checked back into the hospital - amongst other things. BRET Hospital? You have n't been to the hospital since uh. TREVOR Since what? BRET -LRB- getting uncomfortable. -RRB- Look never mind. Just get some numbers going - any numbers at all will due. The hills have eyes remember? Bret casually gestures to a surveillance camera overhead that sweeps across the room like a prison spotlight. BRET -LRB- CONT'D. -RRB- I'm just looking out for ya. Bret slides back over to his work station. Trevor puts his hands on the computer keys and starts to type. A jolt of pain rips through his cranium forcing him to stop. Bret stops typing and breathes an exasperated SIGH. BRET Sixty five point three percent of all headaches are due to low sugar levels in the bloodstream Trevor. A light bulb seems to go off over Trevor's head.", "INT. BREAK ROOM - DAY Inside the narrow room blasted in fluorescent light, Trevor eyes a vending machine, examining its wares. He peruses the sundry sugary snacks, looking for just the right fix. It's so quiet in here we can almost hear his head pounding in pain. He shuts his eyes. A couple of the fluorescent bulbs over his head wink out and the rest flicker weakly. When Trevor opens his eyes again he notices the room has gotten considerably darker. He looks up at the weakening lights and grunts in disgust. The light is just dim enough now so that he ca n't see what's in the vending machine. He goes right up to the glass and peers into the machine, using his hand as a visor. This strain on his eyes intensifies his headache. It's still pretty murky inside the glass case. Trevor squints and just when he thinks he can read a wrapper on. what is it? A candy bar? - A PALE HAND suddenly presses against the glass from inside the machine. Trevor jolts backwards. The hand is gone. But in the reflection of the glass Trevor notices someone has been standing behind him. He whirls around - and is face to face with our worst nightmare : PINHEAD. PINHEAD It's too late. Pinhead lashes out at Trevor striking his face with a clawed hand the rips his face clean off. The lights are back up as Trevor slams against the machine and grabs his face. It's still there! Where Pinhead was standing is THE WOMAN who just slapped him. WOMAN SNAP OUT OF IT! She is attractive and studious. Her sensible business attire ca n't hide a very curvaceous body. This is Trevor's supervisor GWEN. GWEN Jesus what the hell was that? It's like you saw a ghost or something. Trevor slowly peers into the vending machine. Nope. Nobody here but your average every - day candy bars. Trevor is dumbfounded. GWEN -LRB- CONT'D. -RRB- -LRB- angrily. -RRB- Come on speak up, Gooding, I'm trying to run a business here. I ca n't have people flipping out in the break room when they should be slaving away at their desks. TREVOR Sorry I just kind of. spaced for a second there. GWEN Well do n't let it happen again. Or I may have to spank you. Gwen grins sinfully at Trevor and pushes his shoulders back against the vending machine. Before he realizes it, she's kissing him real hard. He gently ducks out from under her, freeing himself. GWEN -LRB- CONT'D. -RRB- Get back here, junior bean counter. This is your supervisor speaking. TREVOR Please, Gwen. You're - you're all over me. GWEN How do you think you got this job, cock? -LRB- cozying up to him. -RRB- Mmm. I'm still tingling all over from our little midnight swim. Trevor looks constipated. He has no recollection of this. Gwen strokes his face. GWEN -LRB- CONT'D. -RRB- What's wrong, Trev? TREVOR Nothing, look. Gwen I really like you - GWEN And it shows. Least it did last night at the quarry. In a big way. Trevor gently pushes her off him again. TREVOR Please you're going way too fast for me here. GWEN YOU'RE giving ME a speeding ticket? Mr. Mario Andretti himself? TREVOR Gwen, my wife's dead. GWEN Oh I see. That again. Trevor? I realize it must be hard. But Christ how long does it take someone to move on? TREVOR That was cold. GWEN No, making another woman compete with someone who's been dead eight months. That's cold. This goes through Trevor like a shot. EIGHT MONTHS! Here we go - Dolly in zoom out! In Close up of Trevor we. FLASHBACK QUICK FLASHES of Kirsty's hand pounding on the windshield, the car sinking into the lake, a quick cut of a dark figure with a bright ring, and shots of two naked bodies slamming against each other in climax course through Trevor's mind. Finally, over the images of erotica we hear Gwens voice as one of the characters. GWEN -LRB- cont'd. -RRB- Yeah, Trevor thats it. Thats it. And back in the real world, Trevor is now locking lips with a very ready Gwen. His hand is up her skirt. He stops abruptly and pulls back. TREVOR I'm sorry Gwen. I do n't know what's happening to me. -LRB- zipping up. -RRB- I think it's the painkillers, really. Gwen rolls her eyes. She re - adjusts her self and now getting a little pissy. She's heard this one before. TREVOR -LRB- CONT'D. -RRB- They mess with my head. Yesterday gets blacked out and a memory from months ago is played out in vivid technicolor. Like the accident just happened you know? Gwen softens up. Trevor is so earnest, so vulnerable. GWEN Why do n't you let me take you out tonight? I promise to make it the most memorable night of your life. She kisses him. He braces himself. She grabs his butt, then goes for the door. GWEN -LRB- CONT'D. -RRB- Pick you up round seven. And Gooding? Get some fucking work done.", "INT. TREVOR'S CUBICLE - DAY Trevor relentlessly crunches numbers at his computer. He pauses a moment to stretch and rubs his eyes. A PING from his computer announces he has an INTEROFFICE MEMO - FILE ATTACHED. Trevor goes to the mailbox on his screen, clicks. Up comes a jpeg slideshow. Each picture is of Gwen dressed in a piece of sexy lingerie. The caption underneath reads WORK HARDER. Looking around his cubicle, he then takes another look at the jpeg. Trevor stands up in the cubicle and we see him peer the outer office looking for Gwen. He sits back down. Embarrassed Trevor closes the memo at least for now. TREVOR'S PHONE RINGS. Startleing him -LRB- and us -RRB-. He picks it up. TREVOR -LRB- into phone. -RRB- You got Trevor. MAN'S VOICE -LRB- from phone. -RRB- Trevor hi this is Detective Lange from homicide. It's about your wife. Push in on to a bewildered Trevor.", "INT. LANGE'S OFFICE, HOMICIDE - DAY It is a dank crumbling room. A place where sunlight is not welcome. DETECTIVE LANGE, a handsome graying gentleman who's plagued with a chronic case of post nasal drip, sits at his desk. Trevor sits across from him. Behind Trevor is another empty desk. As Lange speaks he SNIFFS wetly every so often. LANGE -LRB- to Trevor. -RRB- Thanks for coming down Mr. Gooding. Has your head healed okay by now? TREVOR Where's my wife? LANGE Okay then. Here's the scoop. Lange takes out nasal drops and squeezes some in each nostril as he speaks. LANGE -LRB- CONT'D ; cont'd. -RRB- We still have n't been able to locate your the body in that river. And missing persons turned up some evidence that qualified the disappearance as foul play. TREVOR What evidence? LANGE For one thing there were no skid marks on that bridge, the tires were all intact, from what we could tell, nothing wrong internally with the vehicle either. Like the car had been driven off the bridge intentionally. TREVOR It should all in the report. I told you guys everything. She was giving birth in the fucking car. She grabbed the wheel and I lost control. LANGE I did read that, yes. -LRB- flipping through the report. -RRB- What hospital were you going to? I mean the Lodovico Street Bridge is n't exactly on the way to Mercy General. Trevor looks numb, unable to answer. Lange poker faced, keeps looking through the reoport. LANGE -LRB- CO N'T ; cont'd. -RRB- Listen we really are at a stalemate here until we find the body itself. Is there any way you did not tell missing persons everything that happened just before that accident? TREVOR Why would n't I tell you everything? -LRB- impatiently. -RRB- Look, I've been fully cooperative. -LRB- quick to add. -RRB-. to my recollection. LANGE I'm sorry Mr. Gooding, I meant no disrespect. I'm just doing my job here, OK? I mean between your head injury and the fact that you are on very strong pain medication, you might not be remembering a few details about the crash which might help us here. Lange takes a deep hit of the nasal spray. LANGE -LRB- cont'd. -RRB- What you're recalling could be a fabrication you've made up about it. Do you follow? CLOSE ON TREVOR'S FACE as he wrestles with this notion.", "INT. TREVOR'S CAR - DAY Kirsty's eyes are closed. She is motionless. Trevor tries to look at her while watching the road at the same time. TREVOR Kirsty. Jesus, wake up! This time she does n't wake up.", "EXT. ROAD - DAY The car fishtails. Trevor loses control and the car skids from one side of the bridge to the other - careening toward the guardrail - SMASH! The car is plummeting toward the river below. The car hits the surface.", "INT. UNDERWATER - DAY Trevor flounders through a disoriented flurry of bubbles. He swims up to the passenger door and tries the handle. It wo n't give. Unable to breathe Trevor finally swims up.", "EXT. SHORE - DAY He breaks the surface and crawls onto the shore. He looks out at the car to where she should be trapped inside. Trevors eyes are wide with desperation, breath quickening, The car is sinking fast. He looks at the car and calls out, but there is no Kristy insight. The car disappears under the surface. Trevor hears something from above and looks up. A chunk of the bashed - up guardrail is sailing right down toward him - TREVOR BLACKS OUT JUST AS THE THING HITS HIM", "INT. LANGE'S OFFICE - DAY LANGE Mr. Gooding? You still in there? Trevor blinks and looks around him. Lange is sitting just where they were when he saw him last. Only now there's a very wary look on his face. Whoa. TREVOR Uhh. Yes detective, sorry. Just trying to recollect, you know? Lange nods. TREVOR -LRB- CONT'D. -RRB- Okay. From what I remember now, maybe my wife was thrown from the car when it hit the water. Maybe she was n't trapped inside. Lange checks the report again. He believes Trevor. or does he? LANGE'S VOICE That's a start. I'll tell the people trawling the river maybe it makes a difference maybe not. Thanks for your help Trevor. If we have any more questions you'll get a call from myself or my partner Detective Givens. Lange stands up and backs up awkwardly to a file behind his desk. Trevor stares at him suspiciously. TREVOR You guys know something I do n't? LANGE All things considered we probably know a lot less than you do. Have a good afternoon, Mr. Gooding. Trevor exits, both men maintain eye contact as the door closes between him.", "EXT. BUS STOP - NIGHT The bus pulls up to the curb. Trevor climbs out and starts walking down the empty street. As soon as the bus pulls away, the only sound heard is Trevor's footsteps. POV BEHIND TREVOR : We see Trevor's back from a slight distance. Someone is following him. Sensing this, Trevor looks behind him. Nothing but an empty sidewalk. Trevor hurries his pace, almost there at his apartment building. He glances behind him again. Nope, nobody there. then suddenly - A DARK FIGURE passes under a streetlight on the opposite side of the street. Trevor turns a corner no picking up the pace a little. The DARK FIGURE follows, it picks up it's pace as well. Trevors walks an d approaches a small alley way. Should he take this home? A enraged Pitbull nearly rips his nose off as it Barks and lunges to the end of a heavy chain leash. Trevor -LRB- and us -RRB- about piss our pant's. The dog continues barking, Trevor regains his composure. Suddenly the dogs attention moves toward the direction of the DARK FIGURE. Amazingly, it stops barking and actually cowers back into the shadows. Spooked, Trevor rushes up to :", "EXT. TREVOR'S APT. - NIGHT He hurries up to his apartment building and lets himself in.", "INT. TREVOR'S APT. - NIGHT He looks out on the street. The figure is walking up the building opposite his. It's features are shrouded in shadow, but it is definitely staring at Trevor, who slams the apartment door behind him. He peers out at the street from inside the front hall. The figure is gone. Trevors looks around the apartment. He opens the fridge, it lights up the darkened room. He grabs one of the three items sitting on the wire racks. About to twist off the cap off a cold beer, when a light out his window urges him to investigate. He draws the curtain open and GASPS. POV OUT WINDOW : Staring back at him, from a dimly lit window in the apartment building across the street, is the SHADOWY MAN that followed Trevor home. The man's face is shrouded in shadows but Trevor can see he's holding something bundled up in a blanket. The light in the window winks out, rendering it dark again. Trevor can almost still see the figure somewhere in the darkness still gazing at him. Trevor looks a little sick all of a sudden, like he ca n't breathe. THE BELL FROM A DISTANT CATHEDRAL begins to peel. BONG. BONG. BONG. Trevor opens his mouth to draw in a breath but instead spits out a massive amount of water! BONG. BONG. BONG. Trevor falls to the ground, arms and legs thrashing, heaving up mouthfuls of water. Trevor is drowning. BONG. BONG. BONG. In the puddles of water, we see bits of debris : leaves, pebbles, etc.. Finally, a hideous eel - like creature's head pokes out of Trevor's gaping mouth - it escapes and slithers across the floor, up the window sill and out into the night. - the ringing bell stops abruptly and he takes in a humongous lungful of sweet oxygen. He then notices he is completely dry. Stunned, he looks about him. Trevor is now laying on the easychair, nursing a beer. His videogame is flashing PLAY AGAIN? Whoa. The BING - BONG! of his doorbell startles him. Trevor gets the door to find a striking young GOTHIC WOMAN on the other side. Black hair, lipstick, fingernails. She smiles -LRB- too brightly for someone with such somber appointments -RRB- then summarily lifts her shirt to just below her breasts for Trevor. GOTHIC WOMAN Here it is, what do you think? Trevor looks down at her stomach, the lower half of which contains tattoos which just break the surface of her jeans. At its center is a navel pierced with a studded black pearl, which Gothic Woman then plays with. Trevor looks a little confused. GOTHIC WOMAN -LRB- CONT'D. -RRB- I saw it on the counter, looked at the name and the rest is history. It's like, named after me. Well? TREVOR -LRB- getting uncomfortable. -RRB- Oh. Uh. it's beautiful. I'm sorry, I've just been having a weird day. TAWNY I totally understand. Listen I do n't know if you're into incense but, I bought some, it's called Witching Hour. To inhale it is to love it. I mean the stuff'll clear your head big time. Come on over, I'll burn some for you. If you ca n't sleep tonight. She jabs a thumb down the hall behind her. TAWNY -LRB- CONT'D. -RRB- knock on my door, I'm a total insomniac. TREVOR No, thanks I've got a. a date tonight - His eyes roaming her, he finally finds a tattoo on her shoulder reading : TREVOR -LRB- CONT'D. -RRB- - Tawny. TAWNY -LRB- eyebrows raised. -RRB- Whew. You bounce right back do n't you? TREVOR What do you mean? TAWNY Did n't your like. whole life get totalled last week? TREVOR Last week. TAWNY The car accident? Any of this ringing a bell? Trevor eyes her nervously then : TREVOR It's not that kind of date. TAWNY Hey even if it is more power to ya. -LRB- awkwardly. -RRB- Alrighty then. Have a good time. Tawny ambles off to her apartment. Trevor closes the door and leans against it. He slides down the door and covers his face with his hands. Another headache coming on.", "INT. TREVOR'S APT. - SEVEN THIRTY Trevor paces in his living room. Looks at watch. Then the door. Still no sign of Gwen.", "INT. TREVOR'S APT. - DAY Trevor rummages through a closet. Reaching up to a shelf above him, he tugs at a big cardboard box and pulls. The entire box comes crashing down and out spill about fifty VHS tapes, all hand - labeled : KIRSTY & TREVOR, then the date. He puts one in the VCR, hits play. It's his wedding video. Trevor watches the festivity of the wedding ON THE SCREEN, he smiles for the first time. The wedding portion of the tape ends and a not - so - clean edit takes us into the honeymoon.", "INT. TREVOR'S APT. - NIGHT Trevor holds the camera on Kristy who is under the covers in a generic hotel room. She looks into camera as Trevor adjusts focus and squares up the frame. KIRSTY Well Trevor. It's been one year. Three hundred sixty five days. TREVOR -LRB- OFF CAMERA. -RRB- Eight thousand seven hundred sixty hours. Five hundred twenty five thousand. Kirsty watches Trevor roam the room. She very comfortable on camera. KIRSTY How does feel to be Mr. Kirsty Hughes for a whole year. TREVOR -LRB- OFF CAMERA. -RRB- In a word? Lucrative. KIRSTY The best business decision if you ever made I'll bet. TREVOR -LRB- OFF CAMERA. -RRB- Enjoyable too. The merger never even felt work for one second. KIRSTY You know what the family lawyer told me one our wedding day? TREVOR -LRB- OFF CAMERA. -RRB- What? KIRSTY Never to put you in my will. TREVOR -LRB- OFF CAMERA. -RRB- Really? Why? KIRSTY Because you'd be staying with me for me and not because you'd get rich if I died for some reason. TREVOR But you had more wisdom than to listen to a false prophet KIRSTY There is no wisdom, no insight, no plan. -LRB- prvb 21:30. -RRB- They share a moment. Kristy stares at him quietly through the camera. KIRSTY -LRB- CONT'D. -RRB- And besides, I thought, to hell with it. it's okay if you only married me for my money. TREVOR -LRB- OFF CAMERA. -RRB- Really, why's that? KIRSTY I only married you for your body. They laugh. The camera now looks away from Kristy and into Trevors suitcase. Trevors pulls out a wrapped present. A small tightly wrappped, perfectly square gift. KIRSTY -LRB- CONT'D. -RRB- What are you doing? The camera now back on Kristy. And the present comes up into frame. TREVOR -LRB- OFF CAMERA. -RRB- Happy Anniversary, Mrs. Gooding. KIRSTY For me? Trevor! How romantic! Come here, you. The camera begins to wobble as Trevor climbs onto the bed. Its lands sideways, and we see sheets and covers rustling, accompanied by the sound of giggling and kissing. The tape ends. SNOW.", "INT. TREVOR'S APT. - NIGHT FROM THE COUCH Trevor watches this. Any of this ringing a bell? BING BONG! Trevor gets up and pops the tape out. BING BONG! He slowly walks toward the door. He opens it to find a pitch dark hallway. TREVOR Hello? Who's out there? GWEN suddenly comes out of the darkness clamping her mouth onto his and examining his tonsils with her tongue. GWEN Sorry I'm late dear. Trevor looks like he'd be more turned on sitting bare - assed on an autopsy table. TREVOR Gwen you scared the living shit out of me. She pushes him toward the chair and sits him in it. GWEN You are turning into an old fuddy duddy. Shoe. Gwen puts one foot on his chest. GWEN -LRB- CONT'D. -RRB- Come on do n't make me beat you. Trevor pulls the shoe off. GWEN -LRB- CONT'D. -RRB- Other shoe. Trevor does the same for the other leg. GWEN -LRB- CONT'D. -RRB- Good boy. -LRB- looking around. -RRB- Where's is it? TREVOR What? GWEN Our little toy. You usually have it up and running by now. TREVOR Do I really want to know what you're talking about? A VIDEOCAMERA ON A TRIPOD TAPING GWEN KISSING TREVOR ON THE EASY CHAIR. The cable from the camera runs all the way to the TV where WE SEE what's happening as well. It's intense. Gwen is on top. Gwen aggressively pulls Trevor's shirt off then goes for his belt. Trevor suddenly grabs her hands. GWEN You're kidding me. TREVOR I'm sorry Gwen. I just ca n't. Gwen climbs off the chair and throws her jacket back on. GWEN You have definitely got a screw loose, Trevor. Goodbye. Stuffing her feet in her shoes, Gwen's out the door. Trevor SIGHS, relieved the attack is finally over. About to turn the TV off and stow away his camera. He looks at the TV and freezes. THE IMAGE ON THE TV shows that Gwen is still there, undressing Trevor. Only video Trevor is giving in, kissing her back, pulling her clothes off. Trevor looks at the camera. The red `` record'' light is flashing. Trevor turns back to the TV walking closer and closer to the screen. TREVOR What the hell? He waves a hand in front of the camera and his hand actually appears on the TV in front of the sex image. TREVOR WATCHES Trevor and Gwen make love in video. Video Trevor turns to the the camera -LRB- to Trevor -RRB- and gives a menacing smile. Video Trevor looks back up at Gwen, who smiles down at him carnivorously. She licks her lips. VIDEO GWEN There's one thing I should have told you right from the beginning Trevor. Video Trevor does n't see a knife she manages to slip out of her purse. VIDEO GWEN -LRB- CONT'D. -RRB- I like it pretty rough. To Trevor's shock Gwen suddenly drags the knife right across his throat. Blood shoots up at Gwen's grinning face. Blood pours out of Trevor's mouth and down his chest. FROM THE COLOR SCREEN Trevor, having just seen himself get murdered, shouts :", "INT. HOSPITAL ROOM - DAY TREVOR No! Allison stands above him Bic razor in her gloved hand. The bottom half of Trevor's face is covered with shaving cream. ALLISON Sorry I thought you were going to stay under longer. His face is clean shaven, a little shaving cream remains around his chin. He now has several electrodes attached to his cranium. They're connected to an EEG which BEEPS LOUDLY. The noise bothers Trevor. His eyes dart this way and that. He focuses on the Bic razor. TREVOR What's happening to me? What are you doing? ALLISON You came in for your EEG. You fell asleep and well, I took the liberty of. I'm sorry. You looked like a wreck Trevor. Trevor seems to like the attention. TREVOR I just had the most vivid dream. I was sure I was dying. ALLISON Well you can relax now you are quite alive. And as long as you're awake, chin up. Trevor puts his chin up and Allison continues shaving his neck. Trevor studies her face. ALLISON -LRB- CONT'D. -RRB- Well? What do you say Trevor? Que pasa? TREVOR -LRB- groggily. -RRB- Let me see. Oh yeah. My head feels like it's going through a meat grinder. I'm not sure if I'm dreaming or. ALLISON -LRB- interupting. -RRB- That ` poor me' attitude does n't suit you Trevor. Listen, I do n't mean to sound like Pollyanna but things could be worse. There's one good thing about coming so near to the end of ones life. Everything is new and exciting, like your seeing it for the first time. You might see things a litlle differently from now on. TREVOR Your insight is enlightening. ALLISON No wisdom, no insight, no plan. Allison gives him a wink, disarming Trevor. TREVOR My wife said that exact same sentence to me the day we got married. She even winked too. Allison smiles and puts her hand on his. ALLISON Do you use this wife thing to hit on all the interns? TREVOR -LRB- smiling. -RRB- No. just you. Allison wipes his face clean with a towel. ALLISON There. Just like a baby's butt. Allison gets up, grabs a clipboard starts filling out a report. Trevor stares at her. TREVOR Allison? Why ca n't remember what happened to my wife? Is it something I'm on that's. that's making me forget? ALLISON Easy there Trevor. You need to relax. TREVOR No I need to remember. Look whatever it is take me off it. I can handle pain. I ca n't handle not knowing. ALLISON You need to get better first Trevor. Way better. -LRB- scribbling in the chart. -RRB- It's okay to miss somebody. It's okay to still love someone after they're gone. But you've got to quit blaming yourself okay? Okay? Allison looks up and notices Trevor's body has slackened, his eyes empty. She drops the clipboard and starts snapping her fingers over his eyes. ALLISON Trevor? He is unconscious. A LOUD STEADY BUZZ sounds from one of the machines behind her as blood begins to leak out of Trevor's ear. Allison jumps up and hits call button above Trevor's bed. ALLISON -LRB- CONT'D. -RRB- CODE BLUE! She yanks Trevor's johnnie down, wheels a defribulator over to his dying body and grabs the paddles. ALLISON -LRB- CONT'D. -RRB- It's okay Trevor I'm coming for you. Allison rubs the paddles together, presses the paddles against Trevor's chest and -", "INT. TREVOR'S APT. - DAY - Trevor sits bolt upright in his bed. His alarm clock is making that same BUZZING noise. Trevor is completely disoriented. He sees a note laying next to him on the bed. It says ìYou're an animal baby. you - know - who. î He finally looks at the clock. Seven forty five. TREVOR Shit, I'm gon na be late!", "INT. TREVOR'S CUBICLE - DAY Trevor is on his computer typing madly. ON THE SCREEN WE SEE he has accessed the local newspaper. He calls up an article reading : ACCIDENT LEAVES ONE HOSPITALIZED ANOTHER MISSING. He looks at a newspaper picture of the bridge, which is humming with rescue activity. Trevor's head is pounding. He goes into his desk drawer and pulls out a bottle of aspirin. Trevor empties the last of the bottle's six tablets into his hand, downs them, chases them with what's left of an economy sized bottle of Mylanta. Trevor ca n't seem to even look at his computer screen. He hears a DING - DING and looks up. He has an instant office message waiting. Trevor clicks OK. The instant message reads : ìIT'S TOO LATE.î Trevor rapidly types up. ìWHO IS THIS.î The same message is repeated. ìIT'S TOO LATE. IT'S TOO LATE. IT'S TOO LATE.î Trevor stands up and looks around mazelike structure of cubicles as far as he can see. All of his co - workers are slaving away on their keypads. Trevor sits back down and cancels the instant message. He ruminates for a moment. From behind Bret's fingers TAPPING on the keyboard seem to get louder, more frustrated. They finally stop and Bret stretches momentarily. BRET Must be nice. TREVOR What? BRET Getting paid for doing shit. Bret goes back to work again, fingers HAMMERING away. TREVOR Come on, Bret. BRET Seriously man, you oughta work for the government. You've got the sense of urgency for it. Trevor himself begins to type, slowly, reluctantly. TREVOR Look, I'm doing my best considering okay? BRET Hey if the boss does n't notice who cares right? Just slack all the live long day if you want. TREVOR The boss wo n't notice me doing a bad job because I'm not. Even if the boss thought I was slacking I'd know right away. BRET Yeah, how's that? TREVOR -LRB- smug. -RRB- I have my connections BRET Really? Do tell. TREVOR -LRB- smiling. -RRB- Gwen. Bret freezes. He then looks at Trevor, eyes bulging. BRET GWEN? TREVOR I crap you not. She was all over me yesterday in the break room. And she was a total machine last night too. BRET You were supposed to have a date with Gwen last night? GWEN DEARDON? The supervisor? TREVOR Serious as a heart attack my friend. I think she literally fucked me brains out. BRET -LRB- super sarcastic. -RRB- Wow that's quite a feat Trevor congratulations. Must be really tough to get your brains fucked out by a CORPSE. Trevor stops and looks at Bret. TREVOR What are you talking about? BRET Me? This is your sick joke man. Gwen was murdered here six months ago. The security guard found her all over her office. Her head was in the waste paper basket. Her stomach was in the filing cabinet. Her ass was on the copy machine. Trevor is speechless. BRET -LRB- CONT'D. -RRB- They never found the sicko who did it. remember? Trevor still ca n't speak. He goes into his computer mailbox and re - opens the file he'd received from ìYou Know Who.î He stifles a scream when he sees the jpegs have changed. Sure they're still of Gwen. Pieces of her swimming in puddles of her own blood. Where it once said ìWork harderî it now says ìPolice File.î TREVOR -LRB- to himself. -RRB- Jesus Christ. Trevor looks behind him to make sure Bret has n't seen any of this. He's facing his own computer typing away. BRET Man are you ever out of the loop. Either that or you've got the worst sense of humor this side of Jeffrey Dahmer. What is your problem anyway? Trevor quickly deletes the entire file. Finally. TREVOR Honestly Bret? I think I lost my mind. And now I'm finding pieces of it, like pieces of a wrecked car, scattered on the side of the road. A beat. BRET Bud you need to decompress. I told you you came back to work too soon after the accident. Trevor says nothing. BRET -LRB- CONT'D. -RRB- Hey you know what Trev? I'm going to hook you up man. Here. Bret wheels across the cubicle on his chair and hands something to Trevor. It's an oddly designed postcard bearing some sort of voodoo mask. The font is faux - Oriental, the kind they use for Chinese take - out menus. He looks closer. It's an appointment card for an acupuncturist. Sage. BRET -LRB- CONT'D. -RRB- This woman will take one look at you and know exactly what you need.", "INT. SAGE'S OFFICE - DAY A chart of all the puncture points on the human body is tacked to the wall. Trevor lies on the table. SAGE, a gorgeous ethereal Indian woman is at the far end, hovering over the soles of his feet, sticking pins into the appropriate places. She looks up at him slyly. SAGE These headaches you've been getting. Do they happen in conjunction with the hallucinations? Sage walks over to one of the cabinets, gathering more acupuncture needles. Trevor ca n't help but notice her shapely body, her feline gait. Sage throws a sultry glance over her shoulder at him, prompting him to finally answer her question. TREVOR -LRB- unsure of himself. -RRB- Yes, sort of. My head's been in constant pain since the. accident. And the pain increases whenever I, uh. slip into another, I do n't know what to call them. Sage comes back to him, several needles in one hand. She looks into his eyes. SAGE Dreams? TREVOR I was going to say dimensions. But I guess technically they are dreams. SAGE You should always listen to your subconscious. It's trying to tell you something about your waking life. Sage begins applying the needles fluidly to his upper body now. TREVOR -LRB- CONT'D. -RRB- But I never feel like I'm sleeping. It's sort of, waking narcolepsy. I'll be somewhere and then -. -LRB- snapping his fingers. -RRB- - it's like I was never wherever I was to begin with I was really somewhere else entirely. Sage puts the last needle in. For the first time Trevor actually feels a releief of pressure in his head. TREVOR -LRB- cont'd. -RRB- Ok, whatever that was. do it again. That just set me free of the worlds longest head ache. Is this making any sense? SAGE -LRB- CONT'D. -RRB- None whatsoever. Now just relax. Let the needles do the driving. A PHONE OUTSIDE THE OFFICE RINGS. Sage looks up at the door. SAGE -LRB- CONT'D. -RRB- -LRB- patting his cheek. -RRB- Do n't go anywhere. I'll be right back. Trevor watches Sage EXIT the office. He lies there a moment, bathing in warm sunshine. He is relaxed, pain free. Behind him, an acupuncture anatomy chart on the wall. Which begins to change its shape. It morphs -LRB- or economically changes -RRB- into PINHEAD. Trevor is oblivious as PINHEAD approaches, doll eyes betraying no feeling whatsoever. Then, Pinhead reaches up to his head and begins pulling out one of those infamous pins. It takes a while to come out. Because it is a foot long. Once out, the needle drips with black ooze. Trevor hears a noise and believes its Sage who's reentered the room. TREVOR I'm thinking this might just be what I needed. Pinhead speaks but in Sages voice. As he pushes on of the pins into the tip Trevors skin in his back. PINHEAD No matter what happens just remember. Before Trevor can react, Pinhead suddenly jabs the pin down into Trevor's back, pinning him to the table! It sears his skin. In Pinheads recognizable voice. PINHEAD -LRB- CONT'D. -RRB- We're all here for you Trevor. As Trevor reels in terror, Pinhead pulls another foot long needle from his head and thrusts this one into his neck! WE SEE the needle come right out the other side, nailing itself into the table. Trevor ca n't believe he's still alive! Pinhead pulls one more out, aims this one at Trevor's arm, and swings down. quick cuts :", "INT. HOSPITAL ROOM - DAY Allison pokes Trevor's arm with a hypodermic. She places a reassuring hand on his chest. Machines behind her are PINGING and BUZZING like crazy. Allison looks a little worried. ALLISON Shh. It's okay. Go back to sleep. Allison blurs out of focus. then briefly comes back into focus. only now it's A MAN INSIDE A DARKENED ROOM.", "INT. DARKENED ROOM - DAY TREVOR'S POV : Buried in the murky shadow, all that can be seen are his hands, lit by a shaft of sunlight beaming through a blinded window. A ring on the man's left pinky finger glimmers eerily, almost too much. We saw this man in an earlier FLASHBACK He's holding something. The cube. He speaks in an ECHOED and DISTORTED VOICE. DARKENED MAN I know. Divorce is n't good enough. Abandonment is n't good enough. There's only one way to do it and do it cleanly, without leaving a trace of evidence. The darkened man pushes the cube across the desk towards us. DARKENED MAN -LRB- CONT'D. -RRB- Open this and your problem will disappear forever. And no one will ever suspect you. A word of caution though. A certain side effect of the box. Pleasure. Pleasures that would redefine the parameters of sensation. Trevors picks up the cube. DARKENED MAN -LRB- CONT'D. -RRB- Once the cube is opened there is no turning back. Ever. A LOUD BUZZING NOISE BEGINS drowning out the darkened man's words as we : dissolve to :", "INT. TREVOR'S BEDROOM - DAY Trevor quietly wakes up to the sound of his alarm BUZZING again. He stares at the ceiling.", "INT. OFFICE BUILDING - DAY Trevor pushes through the front doors and a RECEPTIONIST greets him with a big smile and a business card. RECEPTIONIST Afternoon doll - face. Hey, a police detective was just here to see you. -LRB- looking at the card. -RRB- Some guy named Givens. She hands the card to him batting her eyelashes. Trevor looks at the card as she checks out his package. Trevor reads the word HOMICIDE. TREVOR Uh thanks this looks a little important. Could you let the folks upstairs know I'll be late? RECEPTIONIST For you bubbalicious? -LRB- winking. -RRB- I'd lay across a bed of nails. Trevor walks back OUT and the receptionist watches him go. Another female employee walks by staring at Trevor. She looks at the receptionist and they both nod in agreement. RECEPTIONIST -LRB- CONT'D. -RRB- You know it girl. That ass is a three - hummer baby. Mmm - mmm - mmm.", "INT. LANGE'S OFFICE - DAY Same office only Trevor is sitting at the other desk across from a hawklike MAN who is playing with a yoyo. This is GIVENS. If good cop bad cop is the scheme here, he's the latter. TREVOR I'm sorry. I still. I do n't understand how this is a homicide case. I mean nobody was murdered here. Her body's been missing for I do n't know how long now and. GIVENS What did you just say? TREVOR I said she's been missing for - GIVENS No. No you said HER BODY's been missing. TREVOR What's the difference? GIVENS Last time anybody saw this woman she was alive. You seem to certain she's dead. TREVOR -LRB- tearing up. -RRB- I saw her drowning inside the car, detective. GIVENS I read up on you, man. You're a smart guy are n't you? I mean with numbers. Right? TREVOR You could say that. GIVENS Zero's a number right? TREVOR As in one minus one equals zero yes. Where are you going with this? GIVENS How many zeros was your wife worth? Brow furrowing, Trevor stands up. TREVOR I need to talk to my attorney. Now. Givens pushes his phone toward Trevor, who takes it and dials furiously. Givens remains poker - faced. Trevor dials a number. TREVOR -LRB- CONT'D. -RRB- -LRB- into phone. -RRB- Yes I need LARRY ELLIS' office please. He says the lawyer's name like it's supposed to intimidate Givens. He could n't care less. TREVOR -LRB- CONT'D. -RRB- -LRB- a beat. -RRB- Yeah this is Trevor Gooding I need to speak with Larry. Trevor? Kirsty Gooding's husband? -LRB- another beat. -RRB- I see do you know when he'll be out that meeting? Fine I'll uh. call back then. Okay you give him the message and he'll call me that's great. With that Trevor hangs up the phone and EXITS the office. Givens BUSTS OUT LAUGHING.", "INT. TREVOR'S CUBICLE - DAY Trevor types bitterly on the computer crunching numbers like a madman. BRET I do n't know what pissed you off but it's nice to see you getting the job done for a change.", "INT. TREVOR'S APT. - NIGHT Trevor plays his videogame with venom. The cries of his kills emanate from the TV, building to a crescendo. Finally we hear a WOMAN'S VOICE come from the TV. WOMAN'S VOICE I'M SAVED! MY HERO! Trevor flicks the REPLAY button.", "INT. TREVOR'S APT. - NIGHT Trevor stares at the self - taken picture of him and his wife mugging at the camera. What is it that Kirsty is holding?", "INT. TREVOR'S APT. - NIGHT The TV is on. Trevor flips through the channels. He stops on the Nature Channel. A goat is casually munching on some nuts and berries. ANNNOUNCER'S VOICE -LRB- from TV. -RRB- - at the dawning of the agrarian age goat's milk would be considered a suitable substitute for a mother's breast milk. And the sacrifice of a goat would appease an angry god and ensure a bountiful harvest. But in time the ritual would become associated with less hallowed purposes. HEADLINE : CHURCH DESECRATED WITH BLOOD OF GOAT, LAMB ANNNOUNCER'S VOICE -LRB- CONT'D. -RRB- Goat's blood is said to hold supernatural properties linked to black magic. In conjunction with the pentangle - the five pointed star - the spilling of goat's blood is considered to be either an aphrodisiac that can be used in demonic orgies, or a means by which a high priest may summon Satan himself. AN ILLUSTRATION of a goat with many eyes appears on the screen. ANNNOUNCER'S VOICE -LRB- CONT'D. -RRB- -LRB- from TV. -RRB- The Book of Revelations speaks of the anti - Christ as the beast with many eyes. For centuries illustrators have chosen a goat to represent this beast. His eyes hurting too much to watch any more, Trevor turns the TV off. Out of sheer instinct he suddenly turns to look - The apartment across the street is lit. A STRANGE FIGURE is standing in the window. Trevor jumps up and rushes over to his window. He looks OUT at that same shadowy man he saw earlier. The man's face is still obscured and is still holding something in a blanket. Squinting Trevor is able to make out what it is : A SLEEPING BABY. The stranger pulls the baby's blanket over the baby's angelic face. Then the light in that apartment goes out abruptly. Trevor stares at the darkened window breathing heavily. Is the stranger still in there, watching Trevor in the dark? Trevor can not tell. A SUDDEN KNOCKING AT THE DOOR makes him flinch. Trevor goes to the door, opens it to find : TAWNY. Only now she's dressed in a skintight black rubber dress. She smiles accentuating a fresh coat of black lipstick. TAWNY Hey. Can I borrow something? TREVOR Uh. sure, Tawny. what? TAWNY You. Tawny grabs the back of his neck, pulling him to her as she kisses him deeply. She grabs his collar and pulls him out to the hallway.", "INT. HALLWAY - NIGHT She turns around, leading Trevor through the hall like a horse. A very confused horse. TREVOR Tawny? What's - what are you doing? TAWNY YOU! Trevor eyes her gorgeous body and decides not to resist quite so much.", "INT. TAWNY'S KITCHEN - NIGHT Trevor leans against the counter, sipping at a glass of wine nervously. Right next to him, Tawny's at the stove, stirring a pot of something dark and bubbly. She looks up at him, smiling seductively. But Trevor's still a few lengths behind. TAWNY You okay? TREVOR I'm, uh, not sure. Feeling kind of weird actually. TAWNY Really? Tawny grabs Trevor's balls and he jumps away as if jolted by a cattle - prod. TAWNY -LRB- CONT'D. -RRB- I'm kinda feeling nuts myself! TREVOR I've never said this to a woman before but ca n't we talk a little bit before grabbing at each other? TAWNY -LRB- grinning. -RRB- God. Sometimes you can be such an animal. Other times you are the ultimate tease. She holds up a spoonful of what she's been stirring. It looks like stew. TAWNY -LRB- CONT'D. -RRB- Taste this. Keeping a hand below his waist Trevor leans toward the spoon, tastes, licks his lips. Then squints. TREVOR Wow. That's good. Lots of capers, huh? TAWNY For starters. It's also got fennel, asparagus, olives, some more of mother nature's aphrodisiacs. Back in college, me and my roommates used to call it hard - on stew. TREVOR Not a very appetizing name. TAWNY Have some more. Trevor takes another sip of it. TAWNY -LRB- CONT'D. -RRB- If you ever smelled this coming from our dorm room, you knew one of us was in there getting laid. TREVOR You must have been very proud of yourselves. TAWNY It's getting hot in here. Tawny summarily unzips her rubber dress and whips it off. Trevor is speechless. Tawny's body is covered with bites and bruises. TREVOR Jesus. who did that to you? Tawny BUSTS OUT LAUGHING. TAWNY You're kidding right? Trevor shakes his head no. TAWNY -LRB- CONT'D. -RRB- You did! God, you are funny tonight. Tawny approaches Trevor who tenses up. TAWNY -LRB- CONT'D. -RRB- Almost like I'm with somebody else. Trevor starts looking very ill. TREVOR Tawny I think I'm going to be sick. TAWNY Well now there's a compliment. Trevor grabs his stomach, lurching over. He ca n't breath. Trevor looks up at Tawny. But it is no longer her. Tawny has changed into something else entirely. A CENOBITE. The Cenobite rips Trevor's shirt open, and we can see movement within his abdomen. Like a baby kicking. Whatever's in their shoots up expanding Trevor's chest cavity. The Cenobite pins Trevor to the wall and hovers in his face as if about to kiss him. Before Trevor can scream he is choking. The Cenobite watches with glee as something begins to move up into Trevor's throat, expanding his neck, forcing his jaws open and finally. a BLACK EEL pokes its head out of Trevor's mouth. The Cenobite opens its own mouth and the eel starts to crawl inside it. Meanwhile Trevor's about to pass out from asphyxiation when -", "INT. HOSPITAL ROOM - DAY - he takes a deep grateful breath through an oxygen mask. The various pieces of monitoring equipment around him are BEEPING and PINGING like slot machines. Allison walks around the room pressing buttons that silent each machine one by one, then walks up to the bed, looking surprisingly calm. ALLISON Sorry about that. There was a blockage in your oxygen hose. Wo n't happen again, promise. Trevor looks relieved. Shell - shocked but relieved. TREVOR I'm certainly keeping you busy huh? ALLISON -LRB- smiling. -RRB- Too bad I hate my job. She strokes his forehead. ALLISON -LRB- CONT'D. -RRB- Feeling better now? Trevor shakes his head. TREVOR These hallucinations I'm having. I think they're more like memories coming back to me in a strange way. ALLISON Well that's not necessarily a bad thing is it? TREVOR If they're blocked memories. I'm starting to realize the reason why I blocked them out. Allison I think I really. screwed everything up. ALLISON Shh. Do n't blame yourself Trevor. Please. TREVOR I miss her. I miss my wife. Trevor takes her hand. Allison looks briefly around her then. climbs onto the bed with him. ALLISON If you need to cry, go ahead. I wo n't tell. Holding her hand to his face, Trevor closes his eyes, squeezing out a tear. CLOSE ON TREVOR'S FACE. WE start to NOTICE subtle differences about Allison's hand. It is very pale, the fingernails black. Trevor opens his eyes.", "INT. TAWNY'S APARTMENT, BEDROOM - MORNING He is now lying on Tawny's bed, which is surrounded by unlit candles. Sunlight streams through her open window. It is her hand he is holding to his face. The rest of her is sitting under the sheet, covered head propped against the headboard. Trevor drops her hand and it falls lifelessly to the bed beside him. Breathing quickening he reaches up to the black silk sheet covering her head. He yanks it back and covers his mouth in horror. She's been bound to the bed and gagged with a white cloth that is soaked with blood. A deep vertical incision has been made in her neck, collarbone to chin and her tongue is pulled through the wound so it sticks out the bottom of her jaw. And that's just for starters. When Trevor looks down he gags when he sees her ribcage has been opened like a set of French doors and her insides sitting in her lap. The coup de grace? Trevor now sees he is covered with blood. HERS.", "INT. TREVOR'S APT., BATHROOM - DAY Trevor splashes his face with cold water, trying to get his composure back. He stares at the water rushing down the drain for a moment. His breathing stabilizes He finally looks up at his reflection in the mirror. to see PINHEAD staring back at him. Trevor jolts backward in shock and does a double take. It's him now, looking completely unhinged. Outside the PHONE RINGS. The answering machine picks up with a BEEP. LANGE'S VOICE -LRB- from answering machine. -RRB- This is Lange. We need to talk as soon as possible. It's about your little. dilemma. Give me a call.", "INT. HALLWAY - DAY Cleaned up now Trevor carefully makes his way back to Tawny's apartment. He tries the door. It's locked. This ca n't be right. He jiggles the door knob violently, then finally KICKS the door. Suddenly - TAWNY answers the door, looking utterly pissed off. Though still in Goth mode, she's dressed much more conservatively now. TAWNY Can I help you? TREVOR Tawny. I - you're - Trevor goes to embrace her. She shrinks back, startled. TAWNY Whoa, I have serious space issues, dude. What do you want? TREVOR I. think we need to talk, there's something really strange going on. TAWNY -LRB- a look of recognition. -RRB- Hey you're the guy from down the hall. TREVOR Come on, quit fucking around. Listen it's about. what we did together last night. TAWNY -LRB- utterly shocked. -RRB- WHAT?! A VERY DEEP VOICE comes from somewhere behind her. VOICE Who the fuck is that? TAWNY It's that guy from down the hall. He thinks we did something with him last night. TREVOR Who's - who's in there with you? Tawny looks aghast. TAWNY Are you cracking up or something? Suddenly an enormous BRUTE of a MAN, wide as he is tall ENTERS the doorway. He's wearing a black tee, black jeans and, Trevor ca n't help notice, black nail polish. on fingers and toes. Obviously Tawny's significant other. BRUTE What can we do for you, chief? TREVOR I. who are you? Brute takes a sideward step through the doorway, forcing Trevor back two steps. BRUTE You know Tawny, you better know me, pal. TREVOR Okay. I do n't want any trouble. I was mistaken. I'll see you later. BRUTE Much. Trevor turns and hurries off. Brute turns to Tawny who shrugs and makes a twirly motion at her temple. The two go back into her apartment.", "INT. TREVOR'S APT. - DAY Trevor paces in his apartment telephone to his ear. He lets out a heavy breath and looks at his watch. Finally : OPERATOR -LRB- V.O. -RRB- City police main switchboard how may I direct your call? TREVOR You already asked me that ten minutes ago just before you put me on hold. I'm looking for defective - I mean Detective Lange. OPERATOR Oh he and his partner just stepped out to lunch, can I -? Trevor hangs up.", "INT. BUS - DAY Trevor sits at the front of the bus agitated. He folds and unfolds Detective Lange's business card in his hands like some frustrated Origami artist. The SIREN from a passing ambulance drills his ears. The irritating sound eventually fades away but the pain in his head is still there. The BONGING of a distant cathedral's bell makes him pause. He looks around. Toward the rear and sees a familiar old lady knitting a baby's bootie. He looks again. The bootie is bright red and dripping. blood? Trevor follows the strand of bright red wool down to their source : A DYING GOAT laying under the seat. It's insides have been ripped out. Its veins and tendons are serving as the old lady's yarn. Trevor's eyes bolt back up to the old woman. She continues HUMMING sweetly, her lap speckled with goat's blood. Trevor pulls the wire and an OBNOXIOUS BUZZING goes off. Trevor hurries up to the bus driver as the bus pulls over. TREVOR Just open the doors I'll jump off. BUS DRIVER Not while the bus is moving, sir. Trevor clutches his head in pain and waits for the bus to stop. The doors open. He jumps off, knees nearly buckling from the pain. He looks up as the bus speeds off. IN THE REAR WINDOW the little black girl seen earlier pops up. She's holding her little doll. She pushes a clothespin into its head. Blood drips from the puncture. At the same time Trevor feels an incredible pain sear through his head. He squints at the bus again. The little girl is gone.", "INT. LANGE'S OFFICE - DAY Lange is at his desk eating a sandwich. Trevor comes in angrier than a hornet in a beehive. TREVOR Where's my wife Detective Lange? What the hell did you do with her?! LANGE Mr. Gooding I assure you we are doing everything within our - TREVOR Why did you leave me that message? LANGE I do n't know what you're talking about. Trevor SLAMS his hand down on Lange's desk and gets right in his face. TREVOR LIAR! Trevor immediately turns around and walks OUT.", "INT. LARRY ELLIS' OFFICE - DAY LARRY ELLIS is a somber but handsome young attorney. At present he at his desk poring through several books on child custody law. He makes notes on a pad beside him as he talks. LARRY -LRB- not looking up. -RRB- Basically they know where your wife's body is and they're not telling you as a tactic to get you to confess? Yet neither of them has come out and told you that you're a suspect. Is that what you're trying to say? Trevor sits on the other side of the humongous office in a chair so big it practically swallows him whole. TREVOR Look Larry I know you never thought too much of me. And I know this all sounds a little fucked up. LARRY A little? Try unbelievably. TREVOR I swear these guys are like playing mindgames with me. I think they got a hold of my e - mail address at work too. Larry is not buying this for a nanosecond. He trims some brown leaves off a small plant as he speaks. LARRY Trevor barring the more outrageous aspects of your claim you are not the only widower the police have questioned when foul play is suspected. TREVOR Hey ninety five point three percent of all murders are committed by either a spouse, a direct relative or a close friend that's common knowledge. But this was n't murder it was an accident - LARRY -LRB- concentrating on his notes. -RRB- And as far as hiding a body goes? I find it hard to believe even the dirtiest of cops would keep a victim's remains hidden simply to get someone to confess. It's absolutely preposterous. Now I'm not saying I do n't believe you, I'm. ambiguous. There's quite alot of money behind all this. TREVOR How much do I stand to inherit if Kirsty is presumed dead? Larry sighs and walks over to his desk. He presses a button on his intercom. LARRY Rosie can you bring in the Gooding papers? ASSISTANT'S VOICE -LRB- from intercom. -RRB- Right away Mr. Ellis. TREVOR Uh. Ballpark would be fine Larry. LARRY In the vicinity of eight million four hundred fifty thousand. Or is it sixty - TREVOR What happens if I'm convicted of Kirsty's murder? LARRY Well they'd have to prove it in a court of law for one thing - TREVOR Please Larry. Pretend you like me and humor me. LARRY Seeing you were her sole benefactor, and I'm the executive of the will, Kirsty's entire estate would have to be donated to the city. TREVOR Hello? City? Cops? It's a fucking conspiracy! LARRY Pardon my glibness Trevor but you sound like a raving lunatic. The next time you seek counsel it should be of the psychiatric type. You're obviously on the verge of some nervous collapse. TREVOR Thanks for your concern Larry. And fuck you too. Trevor gets up and heads for the door. LARRY -LRB- to Trevor's back. -RRB- I never thought your late wife was the sharpest knife in the drawer. But marrying you was the dumbest thing she ever did! On his way out Trevor nearly runs down Larry's ASSISTANT who was just coming IN with a large file. Trevor's gone.", "INT. CAB - DAY Trevor looks despondently out the window. The cab stops and Trevor hands some money to the CABBIE up front. TREVOR You can go. I'm going to be here a while.", "EXT. BRIDGE - DAY Trevor gets out of the cab, which drives off leaving him on the bridge looking down at the water below.", "EXT. BELOW BRIDGE - DAY Police tape FLAPS between the trees. Other than that there is no sign of an investigation. Trevor walks out of the woods on the shore, through the police tape and to the water's edge. He begins to walk the shore looking out at the still water. He scans the area where the water meets the land, trying to remember. Something on the surface few feet away catches his eye. It's a rock sticking up. No it's something else. Trevor walks right up to the water and puts his feet on a couple of large rocks breaking the surface. He bends down and looks at. THE CORNER OF A BLACK CUBE. He quickly reaches down, tries to pick it up. It seems to be stuck just below the surface. Trevor pulls harder and finally it gives. Trevor slowly lifts the black cube out of the water and GASPS when he sees - A WHITE WATERLOGGED HAND CLUTCHING IT FROM BELOW! Trevor GASPS and lets go. And just as the cube -LRB- along with its owner -RRB- SPLASH under the surface - ANOTHER WHITE HAND breaks the surface grabbing Trevor's wrist! As Trevor Struggles he looks up to see the dark figure standing above him holding a rock over his head. Just as he swings down towards Trevors head - smash cut to :", "INT. ALLISON'S OFFICE - DAY Trevor jumps scaring the hell out of Allison who has just gotten done taking his pulse. ALLISON Jesus I wish you would stop doing that. Trevor looks down at himself. He's on an examination table in his normal clothes not a hospital johnnie. That's a good sign. TREVOR Allison. Trevor tries to put his thoughts together. ALLISON Well Trevor? What have you got to say for yourself? Que pasa? TREVOR -LRB- voice quivering. -RRB- Allison we have GOT to talk about this medication you've got me on. ALLISON I'm all over it. Allison shines a penlight in his eye. ALLISON -LRB- CONT'D. -RRB- Blink. Trevor blinks. Satisfied, Allison sits on the bed next to Trevor and takes his hand. ALLISON -LRB- CONT'D. -RRB- Okay. What we're going to do is up the Topomax to two per day instead of one, see if that takes care of these hallucinatory seizures you've been having. The extra Topomax wo n't interfere with the painkillers either but. You're going to be thrilled to hear this part but we have been told by some patients it affects the memory somewhat. TREVOR -LRB- weary. -RRB- Really? Does it affect the memory? Allison looks concerned. Then her features soften. ALLISON You're one tough cookie, Trevor Gooding. You keep coming back to your corner for a quick fix up then go right back out into the ring for another round. TREVOR Some call it resilience. Others, stupidity. Allison lets a lapse in the conversation last too long. That look of concern returns as she lingers on his face. She's trying to say something. TREVOR -LRB- CONT'D. -RRB- Everything okay Allison? ALLISON -LRB- surprised at her own emotional outflow. -RRB- Of course, yes. TREVOR The way you just looked at me. ALLISON I know, my bedside manner's horrendous. Allison finishes writing a few notes, and Trevors rolls down his sleves. He's intrigued. TREVOR So, I'm done. Thats it for today? ALLISON All finished. Neither of them want this visit to be over. TREVOR -LRB- cont'd. -RRB- How bout some lunch?", "INT. CAFETERIA - DAY The two share the end of an empty cafeteria table, eating off pastel colored trays. TREVOR Think about it. In the entire world where's the most life - threatening place you could possibly be at any given moment. ALLISON I do n't know. Beirut? New Orleans? TREVOR Hint. It's not a geographical location. ALLISON I'm stumped. TREVOR It's inside a moving car. ALLISON Bull. TREVOR I've got numbers to back me up. Over the course of one year more Americans die in car accidents than did during the entire span of World War II. ALLISON Okay so. what's the safest place? TREVOR Statistically speaking? Inside a moving bus. Allison LAUGHS. TREVOR -LRB- CONT'D. -RRB- Millions of people around the world get on busses every day. When was the last time you heard of anybody anywhere dying on a public transit bus? ALLISON Okay Mr. Statistics I've got one for you. What's the most common cause of death for adults over the age of eighteen? TREVOR Please. Heart attack. That was easy street. ALLISON Second most common? TREVOR Skin cancer. ALLISON Eighty third most common. TREVOR Pitbull attacks. ALLISON You just made that up. TREVOR Like you're gon na check. They both chuckle, Trevor's expression gets serious. After a moment of silence. ALLISON Where you two happy together? TREVOR We startred off to be. She was, I guess I was. I just sort of. butchered up the relationship somehow. -LRB- to himself. -RRB- Bad choice of words. ALLISON I understand, I think. Other women? TREVOR Yeah. It's like I was a different guy then I am today. I ca n't remember that guy. I see these women, they think I'm someone else, and I'm not that guy anymore. I'm not sure who Kristy knew. ALLISON You were unfaithful, it sounds like your confessing. TREVOR I did more then that. Allison reaches accross the table for Trevors hand. A quiet moment. ALLISON Com ` on. How bout some fresh air?", "EXT. HOSPITAL ROOF - DAY Trevor and Allison sit in a couple of chairs looking out at the other rooftops around them. TREVOR Lucky for us these chairs happened to be here. ALLISON Oh I knew about the chairs already. This is where the emphysema patients come to sneak cigarettes. She points to the ground at myriad butts scattered at their feet. Trevor smiles and looks at his hands. ALLISON -LRB- CONT'D. -RRB- Do n't tell me. Kirsty used to smoke? TREVOR No. She just would have loved it up here. Allison when I was under. did I ever talk? ALLISON Sure plenty of times. TREVOR Was there anything I said that made you stop and wonder, you know, `` where did that come from?'' ALLISON Sure plenty of times. TREVOR Well? ALLISON Trevor if someone is talking from a sleep state they are obviously dreaming. So practically everything say is going to sound strange. TREVOR Did I ever talk about the accident? ALLISON No. TREVOR Did I ever talk about Kirsty? ALLISON No. But at one point you did repeat something though. A phrase. You must have been having this recurring dream, you just kept saying this one thing over and over TREVOR What was it? ALLISON You said, `` Jealousy arouses a husbands fury, and he will show no mercy when he takes revenge.'' -LRB- Proverbs 6:34. -RRB- Does that mean anything to you Trevor? TREVOR It means I have alot more questions. Trevor stares off into the distance. ALLISON Times up for today. I've got to get back. Allison SMILES and pats Trevor's knee. He melts and puts his hand on hers. She slowly takes it away and fixes her hair. TREVOR -LRB- CONT'D. -RRB- Sorry. ALLISON If it makes you feel better that took every ounce of self control I had. Trevor, I never date patients. TREVOR I understand. I wo n't - ALLISON No you do n't understand. That's why I've been fighting to get you better. So you would n't be a patient anymore. TREVOR Why did n't you tell me sooner? I would have switched doctors! ALLISON Just get better okay? She caresses his face then looks at her watch. ALLISON -LRB- CONT'D. -RRB- I have to get back to work. And so do you.", "INT. OFFICE BUILDING - DAY Trevor walks through the maze of cubicles a big smile on his face. He's actually having a good day.", "INT. TREVOR'S CUBICLE - DAY Bret's already looking up at Trevor as he ENTERS. TREVOR Do n't say a word, Bret. Trevor's smile disappears when he sees someone's already sitting in his chair. LANGE. He's on Trevor's computer surfing the internet. BRET -LRB- to Lange. -RRB- Guess I'll leave you two alone. LANGE -LRB- concentrating on the computer. -RRB- Nice chatting with ya. Bret gets up and LEAVES as Trevor approaches Lange. LANGE -LRB- CONT'D. -RRB- Sorry I'm in your seat are n't I? TREVOR No please make yourself at home. Trevor sits in Bret's chair as Lange logs off and swivels to face Trevor. LANGE How's everything, Mr. Gooding? TREVOR Ca n't we dispense with the games for once? LANGE I thought you loved games. TREVOR I'll just stay out of this conversation until you come out and tell me why you've disrupted me at work. LANGE You and your wife were playing a game shortly before you got into that car accident were n't you? TREVOR Where is she? Where is my wife? Lange shakes his head and pulls something else out of his pocket. It's The Cube sealed in a ziploc. Trevor can not conceal a feeling of dread. LANGE We found this curious little object not too far from the site of the accident. No prints but forensics scraped a little dark residue that was caked on one of the corners. It was blood Trevor. Matched some blood we took off your car seat too. Can you tell me anything about it? TREVOR -LRB- to Lange. -RRB- It looks familiar. I think it was in the car. LANGE Gee you think so? Lange puts the cube back in his pocket and stands up. LANGE -LRB- CONT'D. -RRB- Sorry to take up your time like that Trevor. Do n't work too hard. Oh, before I forget. I talked your neighbor out of pressing charges. TREVOR What? LANGE The whackjob in the black lipstick who lives down the hall? She wanted you arrested for harassment. I told her to chill out and smoke a joint. I'd look the other way as long as she did you know? TREVOR Thanks. LANGE We're all here for you Trevor. Lange gets up and EXITS. Trevor satys seated, after a beat he stands up looking over his cubicle and sees DET. GIVENS staring back at him from the door. Trevors sits back down. Trevor suddenly clutches his head as if it's been killing him this whole time. He goes to his chair picks up the phone and dials. RECORDING -LRB- V.O. -RRB- -LRB- from phone. -RRB- We're sorry the number you have has either been disconnected or no longer in service. If you feel you have reached this recording in error - Trevor hangs up. We can almost hear his head throbbing in pain. He turns around and there's BRET LEANING AGAINST his desk eating a frozen yogurt. Staring at Trevor. BRET Frogurt guy's here. They're all out chocolate vanilla swirl or I'd have gotten you one. TREVOR I'm sure you would have. Bret nods, tosses the frozen yogurt container out and sits down. BRET Hey if you're not doing anything I'd like to buy you a beer after work. Be just like old times. TREVOR What's the occasion? BRET I quit. Today's my last day. This hits Trevor like a ton of bricks.", "INT. PUB - DAY The place is practically empty. Bret and Trevor play darts and work on a pitcher of beer. Country Western plays on the jukebox. BRET I've got a better offer. More time off. A sort of career shift, more in the engineering line of work. TREVOR How much time off? BRET As much as he feels like. Its a much more pleasurable line of work. TREVOR As much as he likes? BRET Yahtzee. Were all in this together Trev. Trevor there are people who are doing exactly what we're doing but they do n't need to wear a tie, punch a clock or have some tight assed supervisor breathing down their necks. Its all about the pleasure Trevor! TREVOR So you're just packing it up just like that? BRET Almost that fast. I got a few loose ends to tie up first. Came into a shitload of money recently. I've always wanted to go to take a trip. We're just gon na walk into the airport and decide right then and there. TREVOR Yeah? You and who else? BRET Someone special. Bret throws a dart with extra mph. It misses the board entirely and hits the wall. Trevor winces in pain suddenly. He touches his head and looks at his fingers. Fresh blood. FLASHBACK Trevor in the car in the water. Thrashing about, he bleeding from his head in the flashback as well. Where's Kristy? He looks in the passenger seat. She's gone. Trevor takes the cube from the man with the ring. He fumbles with the puzzle box in the darkness. CU box. It starts to move. Trevor driving with Kristy, She's going down on him while he's driving. KIRSTY Okay pull over. TREVOR -LRB- looking at his watch. -RRB- But. I thought. Trevor waits a moment to see if she's kidding. KIRSTY -LRB- through clenched teeth. -RRB- PULL OVER NOW. The car comes to a stop. Trevor gets the goods while he watches himself in the rear view mirror. Someone approaches. Trevor zips up, pulls Kristy up out of his lap. Its a cenobite. Trevor screams and opens the door of the car to make a frantic exit. He dive out onto the pavement and looks back. All is quiet. He's alone a quiet road. He stands up and into an eerie world of slow motion. Trevor looks up the road and back to find - A beautiful vision of Allison walking toward him. Walking gracefully, she approaches Trevor. Raises her hand to his face. Trevor smiles, then slowly looks back towards the car. Inside the car he see's Kristy playing with the puzzle box. Trevors calls out to her. TREVOR Kristy noooo! And he makes a move toward the car, as the box comes to life. This stops Trevor in his tracks, and he looks toward Allison. Who is now PINHEAD. PINHEAD There is no reprieve for you. Not even in her. She's only a vision I'm afraid. Tervors looks dumbfounded. PINHEAD -LRB- cont'd. -RRB- The truth hurts does n't it? END FLASHBACK", "INT. PUB - DAY Trevor raises his head from the bar. The beers are there but Bret is gone. Trevors stares at himself in the mirror opposite the bar. He looks like shit. He thinks hard about the flashback. Out the door he goes.", "EXT. PAY PHONE - NIGHT - Trevor's holding the phone up to his ear agitated beyond belief. He'd pace if he could. Instead he just fumes. TREVOR -LRB- into phone. -RRB- Yes I'm trying to reach one of your interns. Allison Dormere? She works in the emergency room there. What do you mean? I just saw her today. Yes I'm sure she works there I've been in and out of that place five times in the last month! Well good day to you too asshole! - CLOSE UP on Trevor's hand searching through the D's in the white pages. He slams the book shut in frustration. - He's on the phone again. TREVOR -LRB- CONT'D. -RRB- No such listing? Could you at least tell me IF she has an unlisted number? What do you mean there are no Dormeres at all there have to be! WELL LOOK AGAIN! -LRB- a beat, more timidly. -RRB- H - hello? Trevor SLAMS the phone down and touches his head again. He looks at his hand. The blood is gone. But the headache is back. Its crippling at this point. He's at his wits end. He reaches into his pocket and finds Pages card. Maybe as a last resort? THE PHONE RINGS. IT RINGS AGAIN. Trevor presses his palm against his eye. Trevor picks up the phone. TREVOR -LRB- CONT'D. -RRB- -LRB- into phone. -RRB- Hello? WIMPERING VOICE -LRB- from phone. -RRB- Goodbye. TREVOR Kirsty? WIMPERING VOICE You miserable sonofabitch! DIAL TONE.", "EXT. SAGE'S BUILDING - NIGHT Trevor is out of breath as he walks up to the last resort. The entrance to Sage's building. The front door is locked. He presses a three digit code on the alarm box. RING. RING. The phone picks up. He's deperate. SAGE'S VOICE Hello? TREVOR Sage it's me Trevor. You've got to help me.", "INT. SAGE'S OFFICE - NIGHT Trevor's head hits the pillow on the acupuncture table. TREVOR The feeling is very distinct. It's like somebody stuck a shard of glass through my eye and it's embedded halfway into my brain. Sage nods, patient look on her face. SAGE Trevor your body has been completely healed. All the nerve endings have repaired themselves. If there is any pain in your head it's. in your head. TREVOR Jeez it's getting awful crowded in there. SAGE You are physically better. It's your soul that still hurts. Sage grabs a bunch of needles from the table. SAGE -LRB- CONT'D. -RRB- My teacher told me once there's a puncture point on your body that can lock your soul within it, even after you're dead. So that when you die you're trapped inside your body, watching it corrode for all eternity. TREVOR Look, whatever your Marharagi, told you, forget. You've got to get this fuckin pain to stop. SAGE It was an analogy. Your soul is locked up inside you. You need to free it Trevor. You've blocked it from the healing process. That's what we need to do now. Heal your soul. And to do that I you have to give in utterly and without any hesitation or doubt. Do you know what I mean by giving in? It's about trust. Do you trust me implicitly? TREVOR I do n't even know what's real and what is n't how can I trust anyone? SAGE You can trust me. Your wife is dead and you need to move past that. And the only way to move past something completely is to go straight through it, not around it. Surrender yourself to your wife's death. Let it chew you up and spit you back out on the other side. It's the only way you can become whole again. Sage looks Trevor dead in the eye. SAGE -LRB- CONT'D. -RRB- Are you ready? TREVOR I surrender. Trevor closes his eyes A MONTAGE of Sage dimming the lights so that the room is nice and dark. placing needles into Trevor's body. his shoulders. his chest. his neck. his legs. his face. Trevor finally opens his eyes to find. he's completely naked on Sage's table! And she's making love to his body, which is now filled with needles! TREVOR -LRB- CONT'D. -RRB- Wait. what the hell is this. SAGE -LRB- whispering. -RRB- Surrender yourself. surrender yourself. She holds up a small chunk of ice and begins rubbing it on Trevor's chest. He catches his breath at the cold and begins to shiver.", "INT. CAR - DAY Trevor wakes up shivering. He is in the passenger seat, head resting against a baby blanket. A hand touches his. Kirsty's. TREVOR Kirsty. Kirsty? KIRSTY It's okay it was just a nightmare that's all. Trevor looks at Kirsty. She is breathtakingly beautiful. TREVOR You're alive. KIRSTY Yes. Now go back to sleep. You're driving the rest of the way to gramma's remember? Trevor looks in the back and for the first time sees an INFANT GIRL sleeping in a car seat behind him. KIRSTY -LRB- CONT'D. -RRB- Trevor I've decided we have got to agree on a name before we reach my mother's. This poor kid's going to be starting preschool as student x if we do n't make up our minds. So, I've been thinking, what about Daisy? TREVOR -LRB- looking at the baby. -RRB- It's perfect. KIRSTY Well that was easy all of a sudden. Trevor looks back at Kirsty. TREVOR Kirsty. I'm glad you're alive. THE SIREN FROM AN APPROACHING AMBULANCE GETS LOUDER AND LOUDER, piercing Trevor's ears. Trevor winces in pain and blocks his ears from the noise. Kirsty looks at him, puzzled. He can only read her lips : `` Honey what's wrong? Honey?''", "INT. AMBULANCE - NIGHT Trevor's eye rivet open again. A PARAMEDIC is snapping his fingers in front of them. Another paramedic is readying a hypodermic. PARAMEDIC Can you hear me? Just nod. Trevor nods. PARAMEDIC -LRB- CONT'D. -RRB- Do you know where you are? TREVOR Ambulance. PARAMEDIC We're just gon na take some blood here. The other paramedic sticks a needle in Trevor's arm. PARAMEDIC -LRB- CONT'D. -RRB- You know what day it is? Trevor shakes his head. The paramedic holds up two fingers. PARAMEDIC -LRB- CONT'D. -RRB- Okay how many fingers am I holding up? TREVOR Two. PARAMEDIC Can you follow them? Paramedic moves his hand left to right. Trevor keeps his eyes on it. PARAMEDIC -LRB- CONT'D. -RRB- Perfect. Hey you remember what happened back there? TREVOR You mean. when the car went off the bridge? PARAMEDIC -LRB- laughing. -RRB- Wow you are out of it. No it was nothing that extreme. You were riding on the bus and just collapsed onto the floor. Out cold. Remember being on a bus now? TREVOR No. maybe. I do n't know. PARAMEDIC It's cool. Here we are. The ambulance comes to a stop.", "INT. EMERGENCY ROOM - NIGHT A couple of orderlies wheel Trevor into the exact room he's been coming to this whole time. The orderlies EXIT and who should ENTER but Dr. Ambrose. and the ANGULAR NURSE who readied him for the brain surgery at the beginning. DR. AMBROSE Hello I'm Dr. TREVOR Ambrose. I know. DR. AMBROSE Have we met? TREVOR I've been in here before. DR. AMBROSE Take no offense Trevor. I see many patients a day and have an awful memory. TREVOR Join the club. Ambrose holds a penlight up to each of Trevor's eyes and nods. DR. AMBROSE -LRB- CONT'D. -RRB- Right. Trevor you just had a seizure brought on by a severe migraine. Things could be much worse. In the next few days you need to take plenty of aspirin, stay out of the sun and make sure you've had at least eight glasses of water by the time you go to bed at night. Trevor just stares at Dr. Ambrose. DR. AMBROSE -LRB- CONT'D. -RRB- Why do n't you relax for the next couple of hours? Barring any relapses you should be able to go home after that. TREVOR Where's Allison? Dr. Ambrose looks a little confused. DR. AMBROSE Who's Allison? TREVOR Allison Dormere. Your intern. Ambrose looks at the nurse, who shrugs, then back at Trevor. DR. AMBROSE Uh we have no intern by that name here Mr. Gooding. Listen I'll be back in a few hours to check up on you meantime relax try not to move around too much. Ambrose pats Trevor's shoulder congenially and WALKS OUT. NURSE There there Trevor. Get some sleep. Trevor tenses when the nurse smiles. NURSE -LRB- CONT'D. -RRB- If you need anything give myself or any of the nurses a call okay? We're - TREVOR Do n't tell me. ëWe're all here for you Trevor' right? Go ahead say it! You know you want to! The nurse looks taken aback. NURSE What the hell are you talking about? Trevor suddenly jumps up yanking electrodes and IV tubes from his body. The nurse is back to normal and very disconcerted. NURSE -LRB- CONT'D. -RRB- Trevor! Mr. Gooding lay back down - Trevor runs out of the woman mowing the woman down in his tracks.", "INT. HOSPITAL HALLWAYS - NIGHT Trevor rushes down the halls of the hospital nearly knocking down Dr. Ambrose. DR. AMBROSE Hey! Trevor races as fast as his feet can carry him easily losing Dr. Ambrose.", "INT. OTHER WING - NIGHT Trevor runs down a corridor through another doorway and into another wing of the hospital entirely. He arrives at the door to Allison's office and throws it open. It's actually a janitor's closet.", "EXT. HOSPITAL ROOF - NIGHT Dressed in janitorial garb, Trevor bursts open the stairwell door and comes out on the roof. An OLD MAN in a johnnie is sitting in one of the chairs not too far away. An oxygen tube trails from his nose to an oxygen tank at his feet. OLD MAN -LRB- wheezing. -RRB- Okay ya caught me. He brings a cigarette to his lips and takes a long drag. OLD MAN -LRB- CONT'D. -RRB- Least let me finish will ya? Got one puff left. TREVOR I do n't work here. OLD MAN Music to my ears. The old man lights a fresh cigarette with the one he's just finished. Trevor turns to go back and THERE'S ALLISON standing in the doorway. ALLISON Trevor. I heard you were looking for me. Is everything all right? TREVOR Allison! Am I glad to see you! -LRB- changing his tone. -RRB- No. everything's not right. Not at all. ALLISON Come here. Allison holds him. The old smoker turns and watches with curiosity. TREVOR Allison I think I did some very, very bad things. I mean very bad. ALLISON Trevor things like this happen to people who experience temporary memory loss. Everybody does things they regret. You just could n't remember doing these things and now you are so it's a shock to the system. I'm telling you. You will never get better if you keep blaming yourself for your wife's death. TREVOR Maybe I was n't responsible for the car accident. The old man calls out to Trevor wheezily. OLD MAN Hey buddy! TREVOR -LRB- ignoring him. -RRB-. but I'm starting to think I was. I was going to. OLD MAN Hey buddy! Trevor turns to the old man. TREVOR What do you want?! OLD MAN -LRB- wheezing. -RRB- Who the hell are you talking to? Trevor turns and Allison is gone. Vanished into thin air.", "INT. BUS - NIGHT Trevor sits at the front of an empty bus rubbing his head. He stares at the spot where the creepy old lady knitting the baby's bootie used to sit. He looks under the seat. There is nothing there. The HYDRAULICS HISS as the bus comes to a stop. BUS DRIVER This is it mister. Trevor gets up and hurries off giving the driver a cursory glance. The driver does n't look at Trevor as he speaks. BUS DRIVER -LRB- CONT'D. -RRB- Have a good night now. Trevor EXITS the bus.", "EXT. BUS STOP - NIGHT Trevor steps out of the bus and faces the ROMAN CATHOLIC CATHEDRAL. He ascends the steps.", "INT. CONFESSIONAL - NIGHT Trevor sits in the booth across from the tiny screen, behind which is a VERY TIRED PRIEST who is still in his pajamas. TREVOR I do n't know what I'm doing here. I'm not even Catholic. I just had to tell somebody. It's like, ever since my wife died I do n't know what I've actually done or what I've imagined. But I do know if one tenth of what's happening to me is reality. I've done some really awful things in my life. Things that I've. I guess I've blocked out. PRIEST What things do you think you've done? TREVOR Wow. Let's see. So many sins so little time. For starters I was responsible for the death my wife who by the way was carrying my unborn child. That was so I could collect her eight million dollar estate. I think I killed several women I was having mindless sex with behind her back. But I did those murders just for the hell of it. Finally. I think I made some kind of deal with the devil and now he's come to collect my soul. Only he's decided to mess with my head first. How many Hail Marys do you recommend for that one father? PRIEST Trevor I'm sure you killed no one. You are very distraught over your wife's death and rightfully so. You did the right thing by confessing to me here tonight. And you should keep praying for the wisdom that will set your soul at ease. That being said, you are still in a highly emotional state right now. It might do you some good to get some professional help. Confess to them the way you confessed to me. In time you'll probably find that the real killer has already been caught. Or better yet. that these murders never happened at all. TREVOR But I saw these women. I saw their mutilated bodies. I saw their ghosts. I just know it happened I can feel it. PRIEST All you've got is the here and the now Trevor. That's all anyone really has. Maybe this will make things easier to understand. A man goes to sleep every night and has recurring dream that he's a butterfly. In time he begins to wonder if he might actually be a butterfly who dreams he's a man. And at the end of the day does it even matter? All these events you're describing. How can you be sure any of them really happened? TREVOR But that's what I need. To be sure. to be absolutely sure. PRIEST Shh. It's okay son. There is but one truth. One thing you can be absolutely sure of. And that thing is this : The priest moves closer to the screen. PRIEST -LRB- CONT'D. -RRB- WE'RE ALL HERE FOR YOU TREVOR. The Priest begins to chuckle ominously. Resisting the urge to scream Trevor bolts out of the confessional.", "INT. CATHEDRAL - NIGHT Trevor rushes out of the confessional. THE CATHEDRAL BELL begins to CLANG. Eardrums getting battered by the RINGING Trevor blocks his ears and rushes toward the exit - coming face to face with a gargoyle blocking his path. PINHEAD. Though he speaks softly his voice is heard easily over the bell. PINHEAD Still in the dark I see? TREVOR Who are you? PINHEAD Poor Trevor. TREVOR This game is over do you hear me? PINHEAD I hear everything. And soon you will know everything. More than you ever wanted I can guarantee that. But I want you to think for a minute first. Think about all you've seen. All the clues you've been given. Pinhead opens his cloak revealing the darkness within. To Trevor's shock his sucked right into this void inside Pinhead.", "INT. CUBIC ROUTE ACTUARIAL RESEARCH, BULLPEN - NIGHT Trevor is thrust into the interior of his office building. Everyone's gone for the day. The only light is coming in from streetlights outside. Trevor races past the cubicles running out into a hallway. He looks down one end then the other. where he sees an office light is on. He cautiously approaches the office. He looks inside.", "INT. GWEN'S OFFICE - DAY Gwen's hacked up body is strewn about the office. Her arms are atop the filing cabinet. Legs under her desk. Ass on the copier. Trevor hears someone coming. He looks down the hall to see A FLASHLIGHT BEAM TURN THE CORNER, blinding him. It's bearer begins running toward Trevor. Trevor bolts the other direction heading for the exit. He pushes the door open and slams it behind him only he's not still outside yet.", "INT. TAWNY'S APARTMENT, BEDROOM - NIGHT Tawny lies on the bed, dead, tongue sticking out of her neck, ribcage violated. Trevor hears someone coming toward the bedroom can see the flashlight beam jittering as its bearer approaches. Trevor rushes toward the window, opens it and leaps out onto the fire escape.", "EXT. APT. BUILDING - NIGHT Trevor's about to climb down the fire escape when he is bathed in the flashlight's beam from inside. Trevor looks down and sees a garbage dumpster full of trash bags below. He jumps. Trevor sails down three stories and lands in the dumpster. He climbs out and runs to the street as fast as he can. He races down the sidewalk trying to get his bearings at the same time. Hearing footsteps from behind Trevor turns to see : The Stranger in the Window not half a block behind Trevor, keeping Trevor's pace. Then. Trevor stops. And turns. The Stranger stops as well. This has never happened before. Trevor shouts down the empty street. TREVOR -LRB- CONT'D. -RRB- WHO ARE YOU! His voice echoes off the darkened buildings. The Stranger stands there. Trevor begins walking toward him, blood in his eyes. The Stranger backs away. Trevor bolts into a run and the Stranger takes off running the other way. The stranger darts into an alley.", "INT. ALLEY - NIGHT Trevor runs into the alley, seeing no signs of the stranger. The end of the alley is pitch black. TREVOR WHERE'S MY WIFE?! Trevor hears something at the end of the alley. He grabs a broken bottle out of a garbage can and heads toward the darkness. Trevor's teeth are bared now. TREVOR -LRB- CONT'D. -RRB- WHERE'S MY WIFE!? Something GLISTENS in the dark just before the razor sharp edge of a switchblade touches his left jugular. Trevor freezes. OUT OF THE SHADOWS comes. BRET. TREVOR -LRB- CONT'D. -RRB- Bret. what the fuck? BRET Tonight was supposed to be the night, Trevor. Remember? I could n't believe you went through five dart games and did n't even joke about it. TREVOR Bret. What the hell is going on? BRET We were gon na be millionaires you said. Nobody'd suspect a thing. I had never even met her. No connection. Then you went and had that fucking car accident. TREVOR Bret you are making no sense whatsoever. BRET I followed her Trevor. I got to know her life. And what a boring one it was. Six a.m. gym, nine a.m. trendy coffee shop, noon bookstore, one soap operas, four o'clock news, five wait for Trevor to come home. And wait and wait and wait. Nine o'clock get ready for bed. Ten o'clock fall asleep in front of the TV. She did that every day I followed her. Every single day. While you were out fucking your concubines. Every day I felt more and more bad for her, man. And hated you more and more. Trevor is absolutely speechless. BRET -LRB- CONT'D. -RRB- Then I find out you're having nooners with my GWEN. That was all I could take. I did n't want to kill your wife anymore. I wanted to kill you. Even before that little accident I decided to do it on the day we'd set aside for her. Bret presses the blade against Trevor's neck a little harder, drawing a rivulet of blood. BRET -LRB- CONT'D. -RRB- But now that ai n't gon na happen either. I fell in love with Kirsty Trevor. The day she died it was like my soul had been ripped from my body. Not just because I lost someone I loved. It's because the child inside her. was mine. Bret then puts the knife to his neck. TREVOR No! Bret drags the knife across his own jugulars slicing them open. Blood pours out of his smiling mouth. Then something really weird happens. Cuts begin to open up all over Bret's face and his hands. Blood pouring to the ground in buckets. Bret lifelessly falls into the pool of blood. Before he can process what's just happened, Trevor hears a NOISE behind him and turns to see. several of those slithering sewer monsters coming toward him, surrounding him. And behind them, SEVERAL SILHOUETTED FIGURES walking slowly toward him. We do n't need three guesses to figure out who they are. CENOBITES. Panicking Trevor reaches down and grabs the knife out of Bret's hand and readies himself for the inevitable attack when - the BLINDING LIGHT FROM A POLICE car illuminates the alley. First Trevor notices the sewer monsters are gone. Then the figures we thought were Cenobites are actually LANGE and several police officers. Lange looks disappointed. LANGE Okay Trevor. Put the knife down. Trevor does so. TWO COPS rush up to Trevor and one swings his baton down just over Trevor's eye - CRACK! LIGHTS OUT.", "INT. POLICE CRUISER - NIGHT Trevor's nose has been bleeding. His eye is black and blue his lip cut. Trevor looks out the window. The streets are deserted, foreign. Trevor looks at the rear view mirror. The cop staring back at him averts his gaze. Trevor thinks he sees something crawl into the cop's eye. Lange sits next to the cop, staring back at Trevor. He takes out his antihistamine and sprays some up his nose.", "INT. POLICE STATION LOBBY - NIGHT The doors burst open and the two cops, Lange escorts Trevor IN. The lobby is entirely deserted. Trevor looks around. There are cups of coffee sitting on desks, jackets thrown over backs of chairs. Signs of a recently bustling workplace that has vacated.", "INT. CHECK-IN - NIGHT The cops hustle Trevor up to a counter, finger print him, sit him in a chair. One of them sits at a computer terminal. Despite being indoors both cops keep their sunglasses on. COP#1 Full name? TREVOR Trevor Alan Gooding. COP#1 Age? TREVOR Thirty one. -LRB- beat. -RRB- Do n't you guys ever take your sunglasses off? smaSH CUT TO :", "INT. HALLWAY - NIGHT The cops hurry Trevor down a dank corridor toward a line up room. Trevor sneaks a peek inside one of the rooms. INSIDE THE DOORWAY : TWO DETECTIVES have some HAPLESS SOUL strapped to some odd looking electrical contraption. HAPLESS SOUL I told you I do n't know! DETECTIVE#1 Wrong answer! Detective # 1 hits a button and a shock races through the Hapless Soul's body. Just then the other detective notices Trevor looking in and SLAMS the door shut. The trio comes to the line up room.", "INT. LINE UP ANTEROOM - NIGHT Trevor is shoved into the cramped booth - like room with four other strange looking MEN who all stare at him. Silence for a moment then : A LOUD BUZZ is heard and the door on the other side of room opens. COP#1 Single file. Trevor follows the other men. The MAN just ahead of Trevor turns to him. MAN We're all here for you Trevor. COP#1 NO TALKING!", "INT. LINE UP ROOM - NIGHT Trevor walks IN with the rest of the gentlemen. Hugging the nearest wall they go up a small set of stairs onto a stage. Trevor hears Lange's VOICE overhead. LANGE'S VOICE Stop and face the mirror! The five men do as they're told, facing a large two - way mirror on the opposite wall. An awkward moment. LANGE'S VOICE -LRB- CONT'D. -RRB- Thank you! The door to the room opens again and Trevor turns, leading the other men back through the anteroom.", "INT. HALLWAY - NIGHT The cops hustle Trevor out into the hallway. The next door down opens and out come two more detectives and. TAWNY'S BOYFRIEND, the brute, looking fit to be tied. He sees Trevor and fills with rage. BRUTE I hope they fry your ass mutherfucker! He lunges at Trevor. It takes the detectives he's with and two more cops to keep him from pummeling Trevor. As Trevor's lead away the brute begins to sob uncontrollably. BRUTE -LRB- CONT'D. -RRB- -LRB- to Trevor. -RRB- YOU'RE GON NA BURN IN HELL! COP#1 Got quite a fan club do n't you, hotshot?", "INT. INTERROGATION ROOM - NIGHT Trevor sits at a tape recorder. Lange sits across from him. TREVOR For the last time. I honestly do n't know how any of them died. Lange stands, squirting antihistamine in his nose. He nods at Trevor and WALKS OUT. No sooner has the door closed when it opens again and Givens walks IN. Givens gets right in Trevor's face. GIVENS Now I want you to tell me what you remember happening - in your own words - exactly the way you told Detective Lange. But this time I want you to make one small adjustment. TREVOR What's that? Givens whirls around revealing Lange's face on the back of his head! LANGE DO N'T FUCKING LIE TO ME! Trevor thinks a moment. He is absolutely numb. He smiles a little insanely. TREVOR I did it. I killed them all. I confess.", "INT. POLICE STATION HALLWAY - NIGHT Still handcuffed Trevor is escorted toward the detention area by the cops in the sunglasses. He's silently praying he'll wake up from this one somehow. No such luck. Trevor and the cops round a corner and there's Lange running up to them. LANGE -LRB- to the cops. -RRB- Quick detour through the morgue boys. Lange leads them to a set of elevators. TREVOR Morgue? LANGE That's right Trevor. The timing was impeccable was n't it? It's been eight months two weeks and three days but we finally found the body. Just need you to ID it for us. TREVOR Where was it? LANGE -LRB- CONT'D. -RRB- That's the weird part. It just magically turned up in the river less than thirty yards from where the car had landed. Like somebody put it there while we were n't looking. The elevator doors open and they get in.", "INT. ELEVATOR - NIGHT It's a long ride down. Nobody speaks. Trevor looks at the cops in the sunglasses. One of them takes his pair off. His eye sockets are empty. We can see brain. The cop cleans his shades then his mouth smiles at Trevor before he puts the sunglasses back on. Finally the doors open. Lange unlocks Trevor's handcuffs and the cops push him out the door into a dark corridor.", "INT. DARK CORRIDOR - NIGHT Trevor looks back to see Lange and the cops staring back at him. LANGE Just keep walking Trevor. You ca n't miss it. One of the cops waves bye - bye to him. And with that the elevator doors shut. Trevor turns around and faces the long corridor. He begins his hike towards its end where an ominous set of double doors awaits. He arrives at them and pushes them open.", "INT. MORGUE - NIGHT As soon as the doors open fluorescent lights flicker overhead illuminating two walls of metal drawers and between them : a large slab of marble upon which rests a human form covered with a sheet. Trevor ENTERS. He makes his way toward the body and stares at it. A low WHEEZING noise coming from a dark corner just beyond the slab distracts him. Trevor looks and freezes when he sees : THE GOAT laying on the floor in a pool of blood. It's still breathing. One of the goat's slatted eyes is staring at Trevor as if begging for mercy. A STRANGE RIPPING NOISE is heard. The goat MEWLS in pain then its eye rolls up. Dead. The animal's body begins to quiver as a tiny wound on its back widens spitting out streams of blood. Trevor begins to back away as the wound stretches open, giving birth to a rising form. PINHEAD. He rises completely from the goat, stepping out of the wound. He is red with blood for a second. Then his skin and robe absorb the blood like a sponge. Pinhead approaches Trevor blocking him from the body on the slab. PINHEAD How is our little student doing? Has he learned his lesson yet? TREVOR I do n't know who you are or what you want. I just want to know what's under that sheet. PINHEAD Use your mind for something other than numbers dear Trevor. Think about people for a change. People other than yourself. Like the women you slept with behind your wife's back. You were always so confident you had covered your tracks. Always confident your wife actually believed your fervent denials? Part of you must have known she would find out. flaSH BACK :", "INT. GWEN'S OFFICE - NIGHT Gwen has Trevor on her desk riding him like a hobby horse. Rain pounds against her window.", "EXT. CUBIC ROUTE ACTUARIAL RESEARCH - NIGHT Kirsty sits inside the car looking up at the window, eyes narrowing. PINHEAD -LRB- O.S. -RRB- Jealousy arouses a spouse's fury. And no mercy will be shown when that revenge is given.", "INT. TREVOR'S APT. - NIGHT Rubbing the baby that's growing inside her, Kirsty sits in front of the TV watching Trevor having yet another romantic rendezvous with TAWNY. THE TV SCREEN DISSOLVES to Trevor in bed with yet another woman. and another. and another.", "INT. MORGUE - NIGHT That fatal BELL begins to TOLL. With each peel the walls of the morgue shakes. It's walls begin to rumble and crack. PINHEAD Even a mind as narcissistic as yours must have wondered : What unspeakable acts was your wife committing behind YOUR back?", "EXT. WOODS - NIGHT LOW ANGLE UP AT : Kirsty, Trevor's lovely wife, raising a rock above her. KIRSTY -LRB- to camera. -RRB- Goodbye you miserable sonofabitch! And SLAMMING a rock down on us. bacK TO :", "INT. MORGUE - NIGHT TREVOR What's under that sheet? PINHEAD You probably do n't remember the night we played. Your first year as husband and wife. flASH BACK :", "INT. TREVOR'S APT., BEDROOM - NIGHT Trevor and a very pregnant Kirsty sit on their bed, passing the cube back and forth. Trevor's the one with the magic touch. The cube begins to open in his hands. Kirsty's eyes light up as she watches. PINHEAD -LRB- V.O. -RRB- It must have seemed like we were uninvited guests crashing your little celebration. ON the walls as shadows begin to flail in pain and panic. OFF SCREEN SCREAMS are heard as blood begins to shower the walls of the bedroom. PINHEAD -LRB- V.O. -RRB- But someone was expecting us Trevor. And everything went according to plan. baCK TO :", "INT. MORGUE - NIGHT PINHEAD We were about to come for Kirsty. When we were offered a deal. We do n't usually consider bargains but this one was too good to pass up. A tribute to the resourcefulness of a parent hellbent on protecting its spawn. The deal we were offered was this : three more souls in exchange for the life of the unborn child inside Kirsty. The three souls had already been picked out. Needless to say we were very impressed. The lights dim. Drawers behind Pinhead begin to open. We see Gwen's body, Tawny's, Sage's, Bonnie's. PINHEAD -LRB- CONT'D. -RRB- Two of your favorite companions, most supple and delicious as you already know. And the man you had at one time conspired to kill Kirsty with. Until you found out she was with child. smASH CUT TO : QUICK IMAGES of Gwen, Tawny, and Bret being rent to pieces by the Cenobites, SCREAMING in vain.", "INT. MORGUE - NIGHT PINHEAD -LRB- CONT'D. -RRB- They were all real screamers too. We had a blast. And there was one more. You've seen many things you wished you had n't. Many nightmares from which you never awoke. They were all clues in our little puzzle. Can you guess now Trevor? Can you guess the fifth soul chosen for us to torment in this little agreement? The lights flicker overhead, reddening with each strobe. Hundreds of those little sewer monsters come slithering out of the cracks in the walls, racing toward Trevor. He does n't care. TREVOR WHAT'S UNDER THE SHEET? PINHEAD -LRB- smiling. -RRB- Welcome to the worst nightmare of them all, Trevor. Reality. Pinhead grabs the sheet and whips it back. Trevor's jaw drops in disbelief. IT'S TREVOR'S BODY. It is blue, bloated and mutilated. The corpse's skull has a massive crack in it. TREVOR -LRB- CONT'D. -RRB- No. no. flASH BACK :", "INT. LANGE'S OFFICE - DAY Kirsty sits across from Lange, who slides the cube across the desk towards her. LANGE Open this and your problem will disappear forever. And no one will ever suspect you.", "INT. CAR - DAY Kirsty drives. Trevor sits in the passenger seat, in the same position we saw him in during his last flashback. Only now it is clear the reason his head is resting on the baby blanket is to keep his brains from spilling out his split open skull. ON KIRSTY'S HAND holding his. It is now covered with blood. KIRSTY Shhh it's okay.", "EXT. BRIDGE - DAY The car goes off the bridge landing in the water. Kirsty's head breaks the surface. She watches the car sink into the river. baCK TO :", "INT. MORGUE Trevor stares at his own dead body in utter disbelief. The sewer monsters begin crawling up his legs. Pinhead smiles. TREVOR -LRB- CONT'D. -RRB- NOOO! The scream ECHOES over Trevor's dead self, which seems so tranquil in contrast. HOLD on the corpse. After a beat the bells stop, as does the rumbling and the cracking. The lights brighten. Serenity. Then : KIRSTY'S VOICE Yes. Yes that's him. REVERSE ANGLE on Kirsty looking down at the corpse wiping her eyes. She looks over to the other side of the body where Trevor and Pinhead had been standing. Where now DETECTIVE LANGE and the coroner DR. AMBROSE had been standing. The two gentlemen look at each other. LANGE Well I guess that's it then. Thank you Mrs. Gooding I realize that must have been tough. Lange escorts Kirsty to the door. They EXIT but not before Kirsty gives her late husband a parting glance. Ambrose covers Trevor's body and looks OFF CAMERA. DR. AMBROSE Alrighty. Let's get started folks. REVERSE on two other DOCTORS who are busying themselves collecting instrument. ALLISON and SAGE. They walk over to Trevor's body and get to work. Sage sticks a needle in Trevor's arm. SAGE Collecting 40ccs of serum. AMBROSE Examining cranial fracture. Allison at his side, Ambrose checks the wound on Trevor's head, pauses to look inside Trevor's eyes. TREVOR'S POV : Ambrose closing the eyelid again. AMBROSE -LRB- CONT'D. -RRB- Checking oral cavity for blockage. Ambrose opens Trevor's mouth. AMBROSE -LRB- CONT'D. -RRB- And we have a winner. Ambrose pulls a long black dead lamprey out of Trevor's mouth. Looks at the slippery creature for a moment. ALLISON Looks like an eel of some kind. AMBROSE Guess it was murder after all. SAGE Yeah all we need is the eel's motive. Allison holds out a large freezer bag, into which Ambrose dumps the dead lamprey. ALLISON I still do n't get it. He's been missing for almost eight months. But this body has n't been dead more than twenty four hours. DR. AMBROSE Makes you wonder what he was up to between the time he disappeared and when he died. Allison walks right up to the corpse's face. ALLISON Well? What do you say Trevor? Que pasa? DR. AMBROSE -LRB- shivering. -RRB- Allison what on earth possesses you to converse with cadavers? SAGE -LRB- looking at Trevor's corpse. -RRB- It's simple, Dr. Ambrose. What if there is no afterlife? What happens when we die? Do we just stay stuck inside your bodies for eternity watching ourselves decompose? AMBROSE I'm not following this. ALLISON Well if that's the case. would n't you want someone to talk to you like a normal human being one last time? AMBROSE You two are creeping me out. And I'm a coroner. Allison fixes a stray lock of hair on Trevor's forehead. QUICK CUTS : Allison slipping a tag on Trevor's toe ; sliding Trevor's body into the morgue drawer ; her hand turning the lock on the drawer. ALLISON -LRB- O.S. -RRB- Adios amigo.", "INT. LANGE'S OFFICE - DAY Lange sits across from Kirsty, who signs some paperwork on Lange's desk. KIRSTY I would have come in sooner but I had an important errand to run last night. Out of town. Figures you'd find his body the minute I decide to go off somewhere. LANGE Well you made it down here that's the important part. Thank you for your patience Mrs. Gooding. She nods teary eyed. She slides the paperwork across his desk and gets up to leave. LANGE -LRB- CONT'D. -RRB- One last thing. When they found him he was holding something. Not to get too graphic but they had to wrench it from his hand. Lange reaches under his desk then stands revealing : THE CUBE inside a ziploc bag. Lange and Kirsty exchange a knowing glance. LANGE -LRB- CONT'D. -RRB- Figured you might want it. KIRSTY Of course. That was my. last anniversary present to him. LANGE A token to remember him by now. Goodbye Mrs. Gooding. She takes the cube. KIRSTY Thank you detective. Lange takes out his nasal sprayer as she walks OUT. She closes the door behind her and Lange looks up at the closed door. He sticks the sprayer up his nose.", "INT. POLICE STATION HALLWAY - DAY Kirsty walks toward the exit. On her way she passes a trash can. She discretely tosses the cube into it and rubs her hands together.", "EXT. POLICE STATION - DAY The birds are chirping. The sun is shining. Kirsty Gooding walks out the door and takes a breath of fresh air. She skips down the steps of the police station toward the street. She stops in the middle of the sidewalk looking both ways. A SHADOW COMES up behind her. It's the STRANGER Trevor had seen out his window. He grabs her shoulder startling Kirsty. She turns to see LARRY ELLIS, shit - eating grin on his face. He's holding an eight month old BABY. The one he was drawing. LARRY Looking for someone, Kirsty? KIRSTY -LRB- taking the baby. -RRB- You bet I was. Kirsty plants a multitude of smothering kisses on the laughing child as A NANNY comes up behind Larry pushing a stroller. Kirsty gently places the baby in it. KIRSTY -LRB- CONT'D. -RRB- -LRB- to Nanny. -RRB- Okay we're on our way. Remember her - NANNY Lactose intolerance. I've stocked the fridge with Lactaid. KIRSTY See you in a couple of weeks. You've got my cell number right? The Nanny pushes the stroller away, nodding, waving good - bye. Larry smiles as he watches the baby go. LARRY Daisy is getting so big. -LRB- beat. -RRB- I still ca n't believe HE was her father. Kirsty smiles to herself. KIRSTY Counselor can we not mention HIM anymore. Can we just start spending HIS money instead. They walk slowly toward the curb. LARRY I've always wanted to go to Madagascar. KIRSTY You mean the place with bats? LARRY They're called flying lemurs. KIRSTY Yeah that sounds like a real blast. They put their arms around each other. KIRSTY -LRB- cont'd. -RRB- I've been thinking about it. This has to have been the best eight months of my life. Larry sees a cab and rushes out to hail it. LARRY -LRB- CONT'D. -RRB- TAXI! Something out the corner of her eye scares Kirsty. She turns to see Lange standing there. LANGE You forgot something. Lange holds up the cube she tossed out. Kirsty's expression falls. But. how? KIRSTY Oh. Thank you. Kirsty takes the cube. LANGE -LRB- CONT'D. -RRB- No Mrs. Gooding. Lange turns and Kirsty's shock there's Givens' face. on the back of Lange's head! GIVENS Thank YOU. Givens smiles at her then walks away. She slowly walks toward the cab where Larry has opened the door for her. LARRY After you my dear.", "INT. CAB - DAY Kirsty slides into the cab looking at the cube in despair. Larry slides in after her. LARRY -LRB- to the cabbie. -RRB- Airport please. He grabs Kirsty's knee. She just stares at the cube. LARRY -LRB- CONT'D ; cont'd. -RRB- What's up? Larry looks down at the cube. It has magically risen from her palms and begun to rearrange itself in that way we've come to know and love so well. The cabbie, looking back at the sight, slowly slides the window between the driver and passenger compartments shut. KIRSTY Time, Larry. Time's up.", "EXT. CAB - DAY As the cab drives off into traffic we see LIGHT FLICKER from within it. The cab passes a cathedral. Its BELL BEGINS TO TOLL. BONG BONG BONG BONG" ]

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[ "FADE IN ON: Black screen SOUND OS - a CHOKED BACK BREATH, GASPING, lungs looking for air, the struggle for life and we -", "GASPING for BREATH continues, more relentless, harder, heavier and into the FRAME we SEE fragments, slowed into special motion, dreamlike, surreal : Dirty blonde hair lifts and tumbles ; Bubbles POP through the murky water ; A hand and then its attached arm swims, in trouble, trying to climb ; And then floats as if disembodied, momentary ; The SWIMMER drifts, then a brief effort twisting, signs of struggle ; A leg pushes off the nothingness, threatened, an impossible fight ; And the claustrophobic GASP, a last chocked back BREATH as other sounds begin to bleed in : the CRACKLE of a RADIO, a few VOICES MURMURING and then more clearly - WOMAN'S VOICE -LRB- O.S. -RRB- Jesus, please. Jesus. The water blurs opaque, into a murky veil of illusion and we", "INT. FORD FIESTA - MORNING The cracked windshield of a blue Ford Fiesta. The clouded form of the drowning SWIMMER is replaced by a small plastic day - glo cross that sways as the Fiesta is lifted up on a tow truck hoist. A PARAMEDIC jogs over to the car as PARAMEDIC -LRB- O.S. -RRB- Hold it, hold on. The Fiesta stops its ascent. The passenger side door opens and the Paramedic reaches in and snares the bopping cross.", "EXT. CITY STREET - MORNING The Paramedic carries the plastic symbol over to a middle aged woman who's sitting on a stretcher, wearing a foam neck brace and looking totally relaxed. This minor fender - bender is an ignored sideshow on a quiet commercial street. As the woman reclaims her crucifix, a lanky MAN strides by, over - coated against the fall weather. We FOLLOW the MAN as he rounds the corner.", "EXT. ANOTHER CITY STREET - MORNING And as he walks on, he gazes out at a small Catholic Church ahead. St. Ursula's is a modest seminary sitting adjacent to the Church. And just in front, behind a chain link fence, is : An asphalt playground used by the Church's pre - school program. A group of CHILDREN play there in happy confusion, watched by TWO FEMALE DAY - CARE WORKERS.", "EXT. PLAYGROUND - MORNING One of the day - care workers alternately pushes TWO KIDS on the swings, using one hand. In her other hand, she holds a cigarette. Her clothes are worn, her sneakers frayed. A simple gold cross hangs loosely from her neck. She's got ancient holes in her ear lobes from another, earlier time, but no longer any earrings. This is MAYA LARKIN. The kids she's pushing are singing `` Frere Jacques'' as they soar up and down on the swings. The second day - care worker, more nicely dressed, shoots Maya disapproving glances as she gives her swinging child modest pushes. A Latino BOY walks up to Maya, both his shoes are untied and his jacket's unzipped. He points to his feet. MAYA -LRB- with mock severity. -RRB- Look at you. She moves away from the swings, puts out the cigarette and stoops down, tying his shoes. After she finishes, Maya watches him run back into the throng. He dashes past the LANKY MAN, standing just ten feet away. A powerful figure, CLAUDE LAREAUX is in his sixties. A stern, heavy expression glances his face. Maya stands back up slowly, looking at him, a more serious expression on her face now. She tosses her cigarette as we :", "EXT. RURAL ROAD - MORNING A non - descript Chrysler New Yorker as it winds its way down a rural road.", "INT. CHRYSLER MOVING - MORNING The car's driver is a fleshy man in his forties named JOHN TOWNSEND. He's anxious, a nail - biter, with the worn hands of a worker. Townsend's slightly nerve - wracked, but trying to settle it all inside. Maya touches a fore - finger across her upper lip, warm, she moves forward, covering heat vents with a cupped hand, uncomfortable, then finally flipping off the heat altogether, which makes a final WHOOSHING GASP. She POWERS OPEN the electronic window, a rough hum as. CLOSE ON Lareaux, in the back seat watching her. Seated next to Lareaux is a dark haired, kind looking man in his 30's, JEREMY. Maya straightens the cuffs of her shirt sleeves - first the right, then the left. Then she repeats it all. Townsend notes the repetitive movement. And the RADIO is ON in the B.G. : RADIO DJ #1 So it says here in today's news that science is looking for a lost minute of daylight. RADIO DJ #2 Yeah, what's that all about? They have satellites now that can read our ATM receipts from outer space, but no one knows how we lost a minute of sunlight? RADIO DJ #1 When they find that minute. Townsend FLIPS OFF the radio. There is an excruciatingly loud pause as everyone in the car sits quietly. Then Maya turns sideways, leaning towards the backseat, and whispers to Lareaux : MAYA -LRB- muffled by ROAR of passing truck. -RRB- Why are you doing this to me? LAREAUX I know, Maya, but you'll understand when you see this man. I really need your strength. Maya silently acknowledges his remark. LAREAUX -LRB- CONT'D. -RRB- -LRB- subbed, in French. -RRB- Ensemble pour toujours quio qu'il arrive. Maya reaches over, putting a soft hand on Townsend's knee. MAYA Good seeing you again. TOWNSEND Whish the circumstances were different. As Maya turns back around in her seat, Lareaux looks up, sees Townsend's dart of worry in the rear view.", "EXT. KINGS COUNTY MENTAL HOSPITAL - MORNING Institutional 50's architecture. Two - story building on picturesque grounds. The Chrysler pulls up to the gate.", "INT. HOSPITAL CORRIDOR - MORNING Lareaux, his overcoat open, walks down the dim corridor. We now see he's a priest. He's wearing a black cassock with a waist - high surplice -LRB- belt -RRB- and a narrow purple stole. He carries a Bible. Townsend, Maya and Jeremy are right beside him. We see Jeremy is also a priest. Townsend is carrying a hard, black leather suitcase. Large windows, bordered by huge pillars, circumscribe the never - ending corridors. Thick doors line the walls, each with a tiny observation window, filled in with octagonal wire patterns. The foursome avoids looking directly at any of those windows. They pass other rooms, doors wide open, lined with several beds each separated by worn curtains.", "INT./EXT. SECOND CORRIDOR - MORNING Sitting next to a door on this corridor is the hospital's Chief Resident Psychiatrist, DR. LESLIE ALLEN. She's casual, calm and intelligent. A mature woman in her late 50's, still attractive, at peace with herself. As she sips a cup of peppermint tea, she glances outside, through a window opposite her chair, at a huge old tree, the antithesis of the sterile, prison - like environment inside. She finds ways to remain grounded in this place. As Lareaux and company approach, Dr. Allen switches her gaze and - LAREAUX -LRB- hands over a document. -RRB- Your court order, Dr. Allen. DR. ALLEN -LRB- standing, makes transition. -RRB- You know I'm not comfortable with this. LAREAUX But your patient is legally entitled to it. DR. ALLEN This patient has been plagued with temporal lobe seizures. LAREAUX It's the patient's request, doctor. DR. ALLEN -LRB- insistent. -RRB- I'm aware of that, but I do n't think he's in any condition to make requests. I'm trying to appeal to your more. logical self, Father. -LRB- as she glances briefly at Maya, Townsend and Father Jeremy. -RRB- I'm concerned about harm to my patient. LAREAUX -LRB- picking up the Doc's visual cue. -RRB- Father Jeremy and Deacon John Townsend of St. Ursula's, and our associate, Maya Larkin. -LRB- off her look. -RRB- Secular assistants are permitted if regarded as qualified. Maya is eminently qualified. DR. ALLEN I think I should join you. MAYA -LRB- brusquely, interrupting. -RRB- - you would n't last five minutes. LAREAUX -LRB- getting to it. -RRB- Just open the door, please. As the Doctor unlocks the door, Lareaux, Townsend, Father Jeremy and Maya file in. Tense. Cautious.", "INT. PATIENT'S ROOM - MORNING The room has been painted hot pink. The only furniture is a large table, a chair and a bed. A few books sit stacked on the table : Albert Beutel's Cryptology, George Fleck's Shaping Space and Claude Shannon's seminal Mathematical Theory of Communication, among others on advanced math. A slightly round man named HENRY BIRDSON is seated in the single restraining chair, compulsively writing numbers on a yellow legal pad. He wears green hospital pants and T - shirt. He looks up and smiles at all his visitors ; a blinding, angry smile. BIRDSON How do you like the color in here? -LRB- glancing over barred windows. -RRB- Spos ` ed to be relaxing. Maya and Townsend avoid looking at Birdson. Maya straightens the cuffs of her sleeves. Lareaux puts his Bible and a small crucifix on the table. LAREAUX Hello Henry. Do you know why we're here? Birdson nods, pleased with himself. He stretches, languidly drops his pad onto the table and yawns. BIRDSON Looking forward to it. Do you have a cigarette? CLOSE ON Lareaux As he catches Maya's gaze and as - CLOSE ON Maya, who looks back at Lareaux, we : CROSSCUT TO A SERIES OF", "INT. ANOTHER PLACE, ANOTHER TIME Confined space. Cheesy lace curtains drape across plexi sliding windows, a soft and constant WHISPERING of the `` Our Father'' in the b.g. and we SEE : a younger Lareaux, longer hair, moving gracefully toward Maya, SUBTITLED IN LATIN LAREAUX Do not remember, O Lord, our sins or those of our forefathers. CLOSE ON Maya's face. Wide - eyed at 16 years old. In the b.g., Maya's sister, stands rigid, afraid. LAREAUX -LRB- CONT'D. -RRB- And do not punish us for our offences. An arm twisting almost out of its socket. A SCREAM. LAREAUX -LRB- CONT'D. -RRB- And lead us not into temptation. SCREAMING CONTINUES. Maya's on a bed, her head jerks sideways, involuntarily. LAREAUX -LRB- CONT'D. -RRB- But deliver us from evil. A crucifix follows its own shadow as we :", "INT. PATIENT'S ROOM - MORNING Townsend opens the black leather suitcase. Inside : rolls of duct and masking tape, two Bibles, three rosaries, a scapular, bottles of holy water and a gold Chalice, sitting in foam - laden velvet, for the Communion Eucharist. Maya quickly and expertly locks in Birdson's chair restraints. Arms and legs. Father Jeremy pulls out a roll of duct tape, sealing the desk drawer shut. Then, he sets up a portable tape recorder on the table. Secures that as well. Birdson restrained, Maya pulls large square - cut pieces of blackout cloth out of the suitcase. She grabs a roll of masking tape, TEARING two pieces of it with her teeth, right off the roll. A SEARING, jarring sound, unexpected every time. Moving to the door, she immediately tapes a square of blackout cloth over the observation window. As the cloth drops, Dr. Allen's face disappears. Maya TEARS several more pieces of masking tape, continuing to block out each window.", "INT. HOSPITAL CORRIDOR Two hours later, Dr. Allen is reassuring one of her patients. She's calm, focused, helpful. PATIENT -LRB- pointing to his stomach. -RRB- My bowel is out. I told you. It's open, ca n't you see it! My stomach's been eviscerated! Suddenly an ORDERLY bursts around the corner, sprinting toward her.", "INT. HOSPITAL CORRIDOR Dr. Allen and the orderly are jogging down the hallway. The sound of SCREAMING can be faintly heard in the distance. Dr. Allen starts to run, leaving her patient, holding her stethoscope and pocket for anything that might fall out. Her BREATHING is slightly LABORED. Her patient SCREAMS after her : PATIENT -LRB- freaked. -RRB- My bowel! My stomach's been eviscerated! And you wo n't help me! HELP ME!", "INT. HOSPITAL CORRIDOR A stunned Laura Allen stands outside Birdson's room as TWO MORE ORDERLIES frantically try to pry open the door. DR. ALLEN -LRB- an order of meds. -RRB- Haldol, Cogenten, Atavan 5, 2 and 2 IM. From the room, a CHORUS of TORMENTED VOICES is heard. A hideous CACOPHONY that builds in intensity with each passing moment, punctuated by sharp explosions of wood and glass. It sounds like the room is being torn to pieces. Along with everyone in it. Something heavy hits the door on the other side. Suddenly, the door BURSTS open. The screaming instantly stops. Lareaux's at the door, pushing past the two orderlies and as he collapses against a wall, Dr. Allen sees he's shaking, completely devastated. Father Jeremy hurries after him, concerned. FATHER JEREMY Father, are you alright? Can you get up? Laura Allen walks slowly over to the door. And bracing herself, she leans forward and stares inside. The room is immaculate. Nothing's damaged, not a stick of furniture is out of place. Townsend and Maya slowly back out, careful not to look at Birdson who sits nonchalantly still tied to his chair. BIRDSON He's right here, you know. Birdson turns and stares at Dr. Allen with a chilling look of triumph. BIRDSON -LRB- CONT'D. -RRB- -LRB- same languid posture, his own thought process etched in his brain. -RRB- Come on in. Dr. Allen freezes. Townsend moves past her. Maya pulls the door shut very quickly. In her hand, she's grabbed Birdson's legal pad and one of his advanced math books.", "EXT. MANHATTAN CRIMINAL COURTHOUSE - MORNING A restless CROWD clusters outside the entrance of the Manhattan courthouse, a mixture of press, public and security.", "INT. COURTROOM - MORNING Inside the packed courtroom, the atmosphere is hushed and tense. Up on the witness stand, MR. SILBERMAN, a meek, reluctant witness, is testifying. The DEFENSE ATTORNEY is relentless. The JURY seems pretty intent on the testimony. They eye : DEFENSE ATTORNEY -LRB- O.S. -RRB- Mr. Silberman, you worked with the defendant, George Viznick, for two years. The accused, GEORGE VIZNICK. He's in his early 20's, with thick, black hair and strong features. His neatly - pressed suit and tie can not disguise the fact he has the feral eyes of an unrepentant psychopath. MR. SILBERMAN -LRB- O.S. -RRB- Yes. DEFENSE ATTORNEY -LRB- O.S. -RRB- -LRB- pacing in front of witness. -RRB- And how would you describe him? MR. SILBERMAN -LRB- O.S. -RRB- Quiet. Real quiet. DEFENSE ATTORNEY -LRB- O.S. -RRB- And on the day of the murders, his state of mind? MR. SILBERMAN -LRB- O.S. -RRB- Seemed. on edge. DEFENSE ATTORNEY -LRB- O.S. -RRB- On the day of the murders. -LRB- dramatic pause. -RRB- what did the defendant request? MR. SILBERMAN -LRB- O.S. -RRB- He asked to go home early. He said he was bothered by all the people who kept telling him what to do. DEFENSE ATTORNEY -LRB- O.S. -RRB- -LRB- to the jury. -RRB- Tell the jury how many people work in that office with you and Mr. Viznick. MR. SILBERMAN -LRB- O.S. -RRB- Just me. There's a general MURMUR at this disclosure and. In the first row, wearing his press credentials like all the other prominent members of the media, sits PETER KELSON. Peter's in his early 30's, fit, handsome, well - dressed, even seductive. The ubiquitous success story, cynical, edgy and focused, he's all or nothing. Peter takes notes in a leather book, graph paper, his own color - coded system, meticulous annotation. He stares intently at the defendant.", "INT. MAYA'S ROOM IN THE SEMINARY - DAY A woman's arm and hand are visible as she writes - CLOSE ON piece of notebook paper covered with a nonsensical collection of vowels and consonants. We TILT UP to see Maya, who tosses the sheet onto a pile of rejects. She takes a sip of coffee. Stale. Maya reacts. Finishes a cigarette. Puts it out in a plain glass ashtray. Lying next to her pack of cigarettes, a vintage Zippo, inscribed, `` peace and fuck you.'' To Maya's left is Birdson's legal pad. On it he has written rows of numbers in neat, precise handwriting. Maya has drawn red lines at regular intervals, showing a repeating pattern of 11 numbers in a row. In the b.g., her used, always, `` ON,'' 24'' TV is airing a daytime talk show. Guy describes his girlfriend's affair AD LIB. Maya reacts to the insanity of the show. On the wall above Maya's table that serves as her desk, is a varied collection of crayoned drawings from the children in her day - care class, a postcard from Louisiana depicting New Orleans, a postcard - sized copy of Modigliani portrait of a woman, and an old photograph of Maya and her sister. CLOSE ON The page she just discarded `` IF R EQUALS ONE'' at the top and letters of the alphabet matched up with a series of numbers. Birdson's cryptology book is visible to Maya's right, as she works off her newest piece of paper, labeled `` IF S EQUALS ONE.'' Maya moves to her mini fridge. Looks inside. Pulls out a soda. Pops the tab. Spray startles her a moment. Wipes off her fingers. SLAMS the door. Comparing numbers and letters with a second piece of paper, Maya notes that the first number, 24, gives her the letter `` P.'' The next number, 13, produces an `` E.'' She writes those down. Flicks a long ash into a half - full ashtray. Gulps air. Maya continues the coded procedure. The next three numbers equal a `` T,'' an `` E'' and an `` R.'' Finally spelling `` Peter.'' Maya gets up. Stretches. Ashtray getting full. Taps out a single cigarette from her shirt pocket. Lights it. EXHALES deeply. Excited and scared at the same time. Maya checks her newest numbers, adding the letter `` K.'' Tamps out her cigarette into an ashtray with earlier cigarette debris. Small stacks of used up paper. Maya stares at her results, exhausted.", "INT. HALLWAY/COURTHOUSE - DAY An explosion of CHATTER as the CROWD empties from the courtroom. Many of the MEDIA rush to a press room across the hall. As Peter heads that way, we see he enjoys some celebrity status. Heads turn and fingers point as he goes by. Peter stops a tall, Asian 26 year - old who's striding by with a thick packet. This is MICHAEL KIM, Peter's researcher. MICHAEL Mr. Kelson, here's the stuff you wanted on pathological narcissism. PETER What about that psychic, what's his name, Szabo? MICHAEL He can see you Thursday. PETER -LRB- shaking his hand. -RRB- I think it's gon na be a waste of time. MICHAEL -LRB- trying to reassure his boss. -RRB- The police used him as a witness in this case. PETER -LRB- unsmiling, but he likes Michael. -RRB- I'll be at Bedford tonight, if you need me. MICHAEL -LRB- big smile. -RRB- Nice suit. Peter takes off, weaving his way through the crowds. And as he enters a MEN'S ROOM :", "INT. MEN'S ROOM - CONTINUOUS Peter saunters up to a urinal. A rough looking man in his late 40's comes out of a stall and approaches Peter. This is a tough cop named MIKE SMYTHE. SMYTHE -LRB- smiling, friendly. -RRB- Hey! Mr. big shot. PETER -LRB- smile emerging. -RRB- Mike. Oh, the christening. I meant to call. SMYTHE -LRB- releases his hold. -RRB- Yeah, right. I do n't know why I bothered inviting you guys. I knew you would n't show. Peter finishes. Zips up and goes to wash his hands. Smythe looks in the mirror, too, noticing a food stain on his shirt. He dabs at it half - heartedly. SMYTHE -LRB- CONT'D. -RRB- So, Viznick's got a meet with his lawyer in the ayem. PETER -LRB- his interest is piqued. -RRB- Really? You know, seeing these guys away from the court, the facade slips. You catch things. SMYTHE Yeah, yeah. I've heard it before. Just be sure you spell my name right. Nine o'clock? Smythe hands Peter a tiny penlight. PETER What's this? SMYTHE So you can see where you're going when you crawl up his asshole. Off Peter's smile, we :", "INT. TELEVISION STUDIO - AFTERNOON The typical particle board and wallpaper set that looks better on the small screen. Two chairs, one with Peter and one with the glossy blonde, perfectly styled, TV personality, SALLY PRESCOTT. THE FLOOR MANAGER silently finishes the countdown as a make up man touches up Peter before rushing off the set. SALLY As a part of today's story on the trial of mass murderer George Viznick, we welcome Peter Kelson, author of the current best - seller, VICIOUS INTENT. Thank you for joining us, Peter. PETER Thanks for having me, Sally. SALLY Peter, you're now writing a book about the Viznick case. You seem to be making a career of studying sensational murderers. I have to ask, how does it make you feel when you sit in courtrooms day after day, face to face with alleged killers? PETER Well, long - term exposure to things like this tends to give you a sort of clinical understanding of the subject. After awhile, you begin to make friends with it, so to speak. SALLY It's as if you are saying the closer you get to evil, the less evil it becomes. PETER No, the less mystifying. Good and evil are only illusions. There is no such thing as evil with a capital `` E.'' That suggests some third party bad guy pulling all the strings. SALLY -LRB- a bit mesmerized. -RRB- You're referring to the defense's efforts to prove that George Viznick is tormented by `` demonic voices?'' PETER There were n't any voices. SALLY Not even from some mental illness, as the prosecution asserts? PETER As if there's another cause for little voices? No, Sally, Viznick's a manipulator, he's clever, he has what I call malignant narcissism. SALLY What do you mean by that? PETER Well, we all have a degree of narcissism, Sally, but a malignant narcissist is dangerously self - obsessed. SALLY Are you saying he's legally sane? PETER Well, George Viznick is in the grayest of gray areas in the sanity spectrum. Viznick is not psychotic. He's simply unable to submit to any higher authority. SALLY Meaning, Viznick's a man who answers to no one. Not even God. PETER -LRB- steps ahead of her. -RRB- Right. If you believe in God. As a narcissist, Viznick could n't blame himself for the alleged murders. He created the voices after the fact. In order to avoid the simple truth that there is no outside force that guides George Viznick and that George Viznick needs to pay. SALLY -LRB- personally interested. -RRB- And what about you? What about Peter Kelson? Where is your moral compass? Peter is momentarily serious, interior, then the brief slight smile. PETER Well, lucky for me, I'm not on trial, Sally. However, I like to think I'm the actual needle on the compass. Morality is which way you're facing. The needle always points north. Sally smiles, a sucker for that sort of crap.", "INT. CONTROL BOOTH - CONTINUOUS The TECHNICAL DIRECTOR leans over to a CAMERAMAN. TECH DIRECTOR Sally's hot for this guy. A tall attractive female P.A. overhears. P.A. He's cute.", "INT. TELEVISION STUDIO SALLY -LRB- more taken with him than she thought. -RRB- Peter. Kelson, ah, thank you for joining us. PETER A pleasure, Sally. TECH DIRECTOR -LRB- O.S. -RRB- And that's a cut. Sally leans forward to Peter and proffers a copy of his book. SALLY Would you sign it for me? PETER -LRB- flashes a killer smile. -RRB- Of course.", "EXT. SAINT BENEDICTUS/MANHATTAN - AFTERNOON A Range Rover double parks in front of an immense Catholic Church. Peter gets out. Across the street, a group of Orthodox Jews walk by. On the steps of the church is an exotic woman, stylish in a yellow Prada dress with a matching yellow nylon zip jacket. CLAIRE VAN OWEN hugs the collar to her neck against a sudden winter guest. She's a magazine stylist and Peter's girlfriend. As Peter meets Claire on the street, he grabs hold of her, relaxed. He kisses her deeply. Claire still reacts, though it's been a year. CLAIRE -LRB- obviously in love. -RRB- I missed you. PETER -LRB- seeing it. -RRB- Do you think they have a room here? She smiles at the possibility. CLAIRE How'd your interview go? I'm sure you charmed the hell out of Sally. PETER She's a talk show host. They ca n't be charmed. By definition. Claire slides an arm through Peter's. Then, she reaches up, suddenly kissing him hard on the mouth.", "INT. SAINT BENEDICTUS - AFTERNOON Peter and Claire walk down the center aisle, dwarfed by the vast vaulted ceiling and rosette stations of the cross. At the Travertine and Terrazzo altar, there's a solemn atmosphere. Choir practice is just about to end and the SINGERS are CHANTING A - CAPELLA in Latin. Standing before them, keeping time and tone, is FATHER JAMES MCKENZIE, a good - natured priest in his late fifties. He sees Peter and Claire and lets the choir practice wind down. Singers begin to collect their music as Father James moves toward his visitors, happy to see them, as always. He gives Peter a strong hug. FATHER JAMES How're you doing? -LRB- to Claire. -RRB- Looking lovely as always. PETER You ready? James turns to the choir. FATHER JAMES Alright, you shrieking harpies, enough of that racket. Be off with you. The choir makes their way out in several directions, shaking their heads at Father James' corny humor. FATHER JAMES -LRB- CONT'D. -RRB- And if you have to sin tonight, try to make it something original. A GROAN from the group at the bad pun. Claire and Peter smile.", "INT. VESTRY/SAINT BENEDICTUS - AFTERNOON Father James carefully and ritualistically removes his vestments.", "INT. RANGE ROVER - AFTERNOON Peter is driving up the West Side Highway, relaxed, an arm out the window. Claire is beside him. James sits in the back, peaceful, meditative, as the trees lining the road move by in a sort of blurred landscape. FATHER JAMES Between your book sales and this TV thing, there's going to be no living with you. And let me guess, you boiled God down to a conceit. PETER You know how I feel. The world is random. The only certainty I believe in is death. FATHER JAMES Given all that's happened, I understand. The world is random, but then there's faith. Where are you in death without it?", "EXT. STREET - CONTINUOUS Suddenly a car cuts Peter off. Peter slams on his breaks. Close call. Claire's purse falls off her lap. Lipstick spills out. She steadies herself against the dash with a hand. James is pressed forward into his seat belt. FATHER JAMES What a. jerk! CLAIRE Peter, are you okay? PETER Fine. Peter resumes driving, mildly irritated. CLAIRE -LRB- getting back to the conversation. -RRB- It's great of you to let William and Susan stay at the house until he gets on his feet. PETER -LRB- cutting across the earnestness. -RRB- It's Susan's cooking, Claire. That's why Uncle James lets them stay. FATHER JAMES Nonsense, it's all of our home. -LRB- to Claire. -RRB- So how's work treating you? CLAIRE Frustrating. Form over content. Everything's so retro. FATHER JAMES Well, if Peter here would hop off his laurels long enough to marry you. At the wheel, Peter gazes straight out at the road. No expression. But he cringes inwardly. CLAIRE -LRB- interrupting for Peter's sake. -RRB-. you wearing a watch, Father? FATHER JAMES Yes. It's exactly. he slides back his sleeve as Clair looks at her watch. CLAIRE Can you check the century hand for me? Mine seems to be ahead. James LAUGHS. Peter shakes his head. The notion of commitment more private to him that to his more expansive uncle. Claire inadvertently glances at Peter, then she looks out her window, an awkward, inward moment.", "INT. MAYA'S ROOM - SEMINARY - AFTERNOON Maya's TV is on, as usual. She SNAPS open a bag of edamame soy nuts, popping them into her mouth, while a lit cigarette sits in the glass ashtray next to her. She eats and smokes alternately. Feet up, socks on. Maya's flipping through the Manhattan white pages, looking for the last time, Kelson.", "INT. TELEVISION SCREEN - AFTERNOON Caption has been flashed onscreen : PETER KELSON, AUTHOR OF VICIOUS INTENT. Sally Price is interviewing Peter Kelson.", "INT. MAYA'S ROOM - CONTINUOUS Maya glances up and she ca n't believe what she reads. Takes her a moment to pull it all in : MAYA Oh my God! INTERCUT WITH TV SCREEN AS NECESSARY. PETER as a narcissist, he could n't blame himself. He created the voices after the fact. Maya shoves a pen between her teeth, while she tears off a sheet of paper. She immediately scribbles the name of the book on the torn piece of paper. As Maya looks back up at the TV, a dart of interest.", "INT. BOOKSTORE - AFTERNOON A table showcasing the current best - sellers prominently features Peter's book, VICIOUS INTENT. Maya reaches in and picks up a copy. Immediately flips to the jacket flyleaf at the back. Reads a moment and as she dos we see the bio : `` born in Bedford, NY, a crime writer whose own parents were murdered.'' Maya heads to a payphone and dials.", "INT. TOWNSEND'S HOUSE - AFTERNOON INTERCUT John Townsend sits at his meticulously maintained PIANO, which is in sharp contrast to the otherwise rundown surroundings. The phone rings. TOWNSEND -LRB- picking up. -RRB- Hello? MAYA I know who he is. TOWNSEND Maya? What do you mean? MAYA I'll explain everything later. Can you meet me tonight?", "EXT. BEDFORD HOUSE - DUSK It's a large house. Peter pulls up and HONKS. As he, James and Claire get out of the car, they walk past an old swing hanging from an enormous tree. Childhood remnant. Expecting them, a man in his late 30's wearing heavy rimmed GLASSES moves out of the house. This is WILLIAM, Peter's brother, followed by his wife, SUSAN. WILLIAM About time, I'm starving. He grabs Peter in a bear hug. Peter looks uncomfortable. And as he pulls free, he collides inadvertently with a low hanging tree branch. As it starts to bleed, Peter sucks on his lip. The swing moves slightly in the b.g. CLAIRE I could use a drink. WILLIAM I've got martinis on ice and I grabbed some good bottles from the cellar.", "INT. DINING ROOM - NIGHT Everyone except Susan troops into the dining room, where an impressive dinner awaits them. They take their places behind their respective chairs. A routine. BUZZ of conversation. WILLIAM Hey, Peter, I missed your show. How'd it go? CLAIRE Do n't worry, we taped it. PETER I do n't think they got my best side. Susan moves in, carefully balancing a few ceramic platters and then she bends over the table, squeezing the last plate onto a huge wooden table already covered with plates of various food. Then, she sits down herself. Takes a little breath. SUSAN This is it. If you need anything else, get it yourself. WILLIAM -LRB- mock distress. -RRB- Susan, I do n't see any salt. SUSAN I love you, too. CLAIRE -LRB- to Susan. -RRB- You know, I made a reservation at Marco's for Peter's birthday dinner, but maybe you should cater it. FATHER JAMES What time did you make it for? CLAIRE -LRB- to Father James. -RRB- Eight. That okay? WILLIAM By the way, I want your advice on what to get him. PETER -LRB- immediately to William, kind. -RRB- I do n't want you spending any money on me. Not right now. FATHER JAMES -LRB- to Peter. -RRB- Peter, in life, you should never deny the giver the pleasure of the gift. -LRB- amused, to Claire. -RRB- All those years raising him. They seem to have had absolutely no effect. Now William, at least he listened to me. WILLIAM Let's eat already. Father James bows his head and immediately, the family follows. A signaled, almost unconscious gesture known to everyone. They all look down except Peter. Claire gives him an annoyed glance. FATHER JAMES Bless us, oh Lord, for these thy gifts through they bounty through Christ our Lord. And a special blessing for Peter and William's mother, Andrea, and their father, Jack, in whose memory we gather here every year. May their souls and the souls of the faithfully departed rest in peace. Amen. A stark silence as Peter and William remember. Claire looks at Susan. Then : PETER Hey, Will, remember that dream I used to have over and over again when I was little, about the bear and the mountain. You know, right after. William nods `` yes.'' PETER -LRB- CONT'D. -RRB- well, you know, I really think the trial's getting to me, because I've been having this weird dream every night. Only this time, of course, it's much different. Everyone's looking at Peter. CLAIRE You never said anything to me. PETER It's probably trivial. JAMES Recurring dreams are never insignificant. PETER Okay, I'll tell you. I'm reading a book - I ca n't remember what the book is when I wake up - but I realize halfway through it's something I've written. Or will write. Anyway, I get to the end of the book and I'm feeling very satisfied and I close the cover to read the title and it only says `` x - e - s''. Three letters. For some reason, that makes me feel great, and I wake up. CLAIRE -LRB- looking around at the silenced table, holding back a smirk, a moment, then. -RRB- Peter, `` x - e - s'' is `` sex'' spelled backwards. More silence, then James bursts out LAUGHING. Then Susan ca n't gold it back and then William. PETER -LRB- looks around, big smile turning into LAUGHTER. -RRB- What can I say? I'm not a master of the obvious. And that sends everyone into an uncontrollable fit of LAUGHTER and as they're all in various states of choked back hysterics, suddenly William's LAUGHING becomes seriously uncontrolled and then : William's head involuntarily jerks backward, his eyes begin to roll up. Susan is first to notice, while LAUGHTER continues in the b.g. and she leaps to catch him. As William starts to tip over backward in his chair, Peter then realizes and together, Susan and Peter ease William onto the floor and turn him on his side. James grabs a pillow from an armchair in the room, shoving it under William's head and. As William's epileptic attack winds down slightly, Susan looks up at James : SUSAN It's been a long time since his last seizure. I guess we've got to adjust his medication again.", "INT. SEMINARY HALLWAY - NIGHT The shadowy figures of Maya and John Townsend can be seen almost in silhouette. TOWNSEND And what are you thinking we should do now? MAYA I've filed a report with Father Frank. TOWNSEND A lot of good that'll do. MAYA We need all the help we can get. TOWNSEND I've dealt with these people before, Maya. They're not going to help us. MAYA We'll see Father Frank in the morning. There's nothing to be done until then. TOWNSEND -LRB- on edge. -RRB- Alright, Maya. We'll do it your way.", "INT. SEMINARY CHAPEL - NIGHT A troubled John Townsend prays to God for answers.", "INT. SEMINARY OFFICE - EARLY MORNING FATHER FRANK, a sweet - faced priest in his 40's, is conferring with two church officials. We TRACK him as he exits the office and cross through to :", "INT. ALTAR - CONTINUOUS A JANITOR polishes the marble of the ornate altar. Father Frank enters and pauses a moment to watch the man at work. FATHER FRANK Do n't forget to polish the brass afterwards.", "EXT. SEMINARY GARDEN - CONTINUOUS The seminary has a small, planted, meditative garden, shoe horned in behind the rectory buildings. Maya sits on a simple wooden bench, her tiny cross glinting off sunlight. Her eyes are closed and her head is tilted up toward the sun. Maya snaps out of her reverie, as Father Frank approaches. FATHER FRANK -LRB- kind, but resolved. -RRB- Maya, the Diocese has rejected your report. And I must say, I agree with them. A JET ROARS overhead, DEAFENING momentary noise. Father Frank looks up a moment, then : FATHER FRANK -LRB- CONT'D. -RRB- -LRB- comforting tone. -RRB- I do n't mean to belittle you, but we've been through this before. Satan is not what you think he is. Satan is not some creature. MAYA You were n't there. Give me time to get some proof. FATHER FRANK Please, Maya. I'm trying to get us into the next century and you insist on this medieval nonsense. MAYA If you really believe in God, why is it so inconceivable that his enemy is just as real? FATHER FRANK Maya, for the last time, I will not tolerate these obsessions. Anxious, Maya rubs her cross between a thumb and forefinger, distractedly.", "INT. SEMINARY STAIRWELL - EARLY MORNING Maya crosses through the dim hallway and heads up the stairs.", "INT. SEMINARY BATHROOM - CONTINUOUS A bright, clean bathroom with new fixtures and fluorescent lights. Maya comes in, trying to contain her frustration. Turns the water on. She watches the water a moment. Then puts her hands in. Cool on her wrists. Splashes her face. MAYA -LRB- despairing. -RRB- Stupid man. I ca n't do this. At that moment, she hears something. It's faint, but unmistakable - the sound of SCRAPING METAL ON METAL. Then it stops. MAYA -LRB- CONT'D. -RRB- Hello? No response. Maya faces all six stalls. She walks to the first one, pushes open the door. It's empty. She repeats this at the second stall, the thirds, the fourth, the fifth. All are vacant. Now the last one. She pauses just a second. The lights HUM. She pushes it open. It's empty. Disturbed, she turns back to the sink and as she looks down, the water flows instantly backwards, disappearing up into the faucet. She turns back again, watching the room change from pristine to rotting decay. The stalls behind her have changed. The doors are closed again. They're battered, chipped, scarred. Rusty water flows from underneath. She whirls around. On the stall directly behind her, the letters `` X'' `` E'' and `` S'' have been scratched into the metal in loose, flowing script. At the same time, the lights go dim. The HUM is uneven, more menacing. Alarmed, Maya closes her eyes, then opens them. The vision remains. Her breathing gets lighter, faster. Fingers appear on the top of the stall door behind her. The door is pulled open. A man in inside, wearing hospital clothes. It's Henry Birdson. His eyes bore into hers. He's got a knife in his right hand. Petrified, she stares back. MAYA -LRB- CONT'D. -RRB- You're not real. He leers and nods, `` Yes I am.'' He steps toward her. Every instinct in her body screams at her to run. But she stays put. And we HEAR A CHOKED BACK BREATH and Birdson slowly extends his knife, just inches from her face. Closer to her face. Then closer still. Until the tip of the blade is slowly creeping toward Maya's eye. ECU of the tip of the blade, literally millimeters from her pupil. Closing painfully slow. Maya braces herself. ECU of the tip of the knife now only a hair away. ANGLE ON Birdson. He smiles. And THRUSTS. She suddenly reaches up and grabs for the blade. The lights `` flare'' horrifyingly bright for a split second. We hear a surreal distortion of Maya's voice crying out. And `` Birdson'' vanishes. Maya's looking at a pristine bathroom, its unmarked stall doors pulled tight. Victorious but drained, she slumps forward.", "INT. LAREAUX'S ROOM - MORNING Inside Father Lareaux's Spartan room at the seminary, Lareaux lies in bed, his face turned towards the wall. He's MUMBLING. Maya has pulled herself together and sits by the bed with Father Jeremy and an irritated Father Frank. In the b.g., John Townsend is urgently riffling the books and papers on Lareaux's desk. Most of which we SEE are about demonic possession. Unknown to anyone, Townsend slides two of the books under his coat. FATHER FRANK -LRB- to Maya. -RRB- Leave him alone. Maya does n't want to hear that. She leans closer. The full wound of her childhood pressed back into her eyes. MAYA -LRB- compassionately. -RRB- Father, it's me, Maya. Tu m ` entends? Lareaux rolls over and looks at her. The change in his appearance is shocking. His eyes are red - rimmed and his expression is unfocused. LAREAUX -LRB- with a nursery rhyme cadence. -RRB-. the ark sank, the sun set, the ark sank again. MAYA Father, I'm right here. LAREAUX -LRB- like a child. -RRB-. the ark sank, the sun set, the ark sank again. his eyes are wild. Father Frank turns to Maya. FATHER JAMES He's not going to respond. Maya slowly backs away. FATHER FRANK The doctor's concerned he may never come out of this dementia. MAYA He will. He has great faith. FATHER FRANK But bad judgement. And now you see how dangerous the consequences can be. Maya moves over to a silent John Townsend. MAYA John. I've got to head back to the city. -LRB- to Father Jeremy. -RRB- Would you page me if there's any change whatsoever? -LRB- Maya hurriedly writes her pager number down for Jeremy. -RRB- Anything, okay? FATHER JEREMY -LRB- under his breath. -RRB- I wish I could help. Maya smiles sweetly at Father Jeremy.", "INT. SEMINARY HALLWAY - MORNING Maya and Townsend confer down the hall from Lareaux's room. TOWNSEND It's useless. look at him. MAYA You ca n't back out on me now. We need to be sure. TOWNSEND -LRB- agitated. -RRB- Sure of what? Who cares if this guy is devoid of faith or sleeps over a pentacle? Results are what Lareaux would want. Maya stares intently at Townsend. Father Jeremy approaches from down the hall, aware of the tension between them. TOWNSEND -LRB- CONT'D. -RRB- You do n't want to face it. MAYA Look, John, I'm facing it. TOWNSEND I'm not waiting until it's too late. Townsend walks away. FATHER FRANK Is he going to be okay? MAYA I hope so.", "EXT. PHONE BOOTH - DAY CLOSE ON A list of names, all doctors. Some have bene crossed off. And as we PULL BACK, we see Maya's on the phone on a Bedford main drag and, as she DIALS, she pivots in the booth, anxious thought process, a pencil being lobbed between two fingers. Suddenly, a VOICE over the phone. MAYA -LRB- into phone. -RRB- Hi, I'd like to make an appointment for Peter Kelson. As she waits, she pivots back around again. MAYA -LRB- CONT'D. -RRB- no, he's not a new patient. Okay, thank you, bye. Maya crosses off another doctor's name from her list. DROPS in two more quarters, as several sit stacked by the phone. Maya glances around. As she checks her list, TAPPING out another number, she takes a deep BREATH as she sees A MAN walking his dog. The dog suddenly stops, squats and takes a greasy shit right on the sidewalk. Maya ca n't believe it, wants to say something but the line picks up : MAYA -LRB- CONT'D. -RRB- -LRB- refocusing. -RRB- Hi, I'd like to make an appointment for Peter Kelson. -LRB- a beat. -RRB- No, he's a returning patient. You do n't. Thanks anyway. Crosses off another name. DROPS in two more quarters. TAPS out another number. Maya bends the silver phone cord distractedly, back and forth awhile, and as the line picks back up : INTERCUT AS NECESSARY MAYA -LRB- CONT'D. -RRB- -LRB- rote. -RRB- Hi, I'd like to make an appointment for Peter Kelson. RECEPTIONIST Kelson, hold on a second. Maya waits anxiously as RECEPTIONIST -LRB- CONT'D. -RRB- Okay, Mr. Kelson has n't been here in awhile. A pause, while Maya listens, then, repeating. MAYA Tomorrow. Ten o'clock? Great. Maya hangs up, circling a name and address on her list, and as she takes off as we :", "INT. BEDFORD GENERAL PRACTITIONER - DAY Doctor's Office. Formica reception desk. Small waiting room. Few PATIENTS sit, reading magazines, waiting for their doctor. Maya walks in the door, moving to the rectangular opening at the check - in desk. Young receptionist, visibly pregnant, castors around to Maya, handing her the clipboard, standard procedure. MAYA -LRB- taking it in, but ignoring it. -RRB- I do n't know how to begin, by boyfriend. -LRB- looks around, in whisper. -RRB- my ex - boyfriend. The last time we were together, he, shit. Maya's on the verge of tears. The receptionist knows what's coming. MAYA -LRB- CONT'D. -RRB- I took one of those home pregnancy tests, but I do n't want to tell him. I'm RH negative. My blood type is negative. -LRB- starting to cry. -RRB- If he's RH positive, I'll have to terminate. RECEPTIONIST -LRB- handing Maya Kleenex. -RRB- How many weeks are you honey / MAYA Thirteen. The last time, can you believe it? This is how he says `` Goodbye?'' RECEPTIONIST -LRB- registers alarm. -RRB- You need his blood - type. Like right away. MAYA -LRB- ready to let receptionist connect the dots. -RRB- Well I know he's come here before. RECEPTIONIST What's his name? MAYA -LRB- carefully. -RRB- Peter. Peter Kelson. RECEPTIONIST You just call? MAYA -LRB- sniffling. -RRB- I did n't know what else to do. A long moment, Maya's anxiety increasing, then : RECEPTIONIST -LRB- castors back to Maya. -RRB- You're in luck. Says Peter Kelson's an. AB negative. Maya has a moment of confusion as. RECEPTIONIST -LRB- CONT'D. -RRB- Two negatives always make a positive. MAYA -LRB- overjoyed, huge smile. -RRB- Oh, thank you, thank you so much!", "INT. BEDFORD RECTORY - DAY Maya enters a small reception area. Behind its counter sits an elderly DEACON and a SECRETARY. SECRETARY May I help you? MAYA Yes, I have some questions regarding the baptismal records for one of our new constituents. SECRETARY And the person's name? MAYA Peter Kelson.", "EXT. SOHO STREET - LATE AFTERNOON We see the normal activity of a Soho street. The camera pulls back and into Peter's office where see Peter working at his computer.", "INT. PETER'S OFFICE - LATE AFTERNOON It's a writer's domain. Books everywhere. Stacked and shelved in an obvious order, by size and subject. There are also several silver and leather - framed photos of Peter and Claire with known literary celebrities. At the large granite and birch desk, an exhausted Peter switches off his computer. PETER -LRB- hits INTERCOM. -RRB- Mrs. Quintana, let's go home. His secretary, MRS. QUINTANA, appears in the doorway. She's a strong - willed Latino in her forties. MRS. QUINTANA I plan to. -LRB- beat. -RRB- You want a tip? PETER Lem me guess. The lottery. MRS. QUINTANA Sometimes I can just feel the numbers. PETER You know what they say. You have the same chance of winning whether you play or not. MRS. QUINTANA You watch. One day, I'll hit the jackpot, get the big house, car, clothes. I'll have more money than God. She smiles and exits. MRS. QUINTANA -LRB- CONT'D. -RRB- -LRB- under her breath. -RRB- Y yo tendre mi propria secretaria. SNAPPING off the lights in her office. And in the b.g., the fragmentary sounds of a party going on somewhere down the hall, in another office. A moment, then her outer office door slams. Peter goes back to work at his desk. Finishing up. Another moment and he hears Mrs. Q's door PRESS BACK OPEN. PETER -LRB- not looking up. -RRB- What'd you forget? No response. Peter looks up. He waits, then continues to put his things away in preparation for leaving. After a moment, he glances up to see MAYA standing in the doorway. She's taken pains to look attractive. Her best clothes. She looks great. A simple beauty. PETER -LRB- CONT'D. -RRB- -LRB- startled. -RRB- May I help you? MAYA Peter Kelson? PETER -LRB- observes everything about her. -RRB- Yes. and you are? MAYA -LRB- slightly flirtatious, gregarious. -RRB- I saw you on television yesterday. You were brilliant. PETER Thank you. Do you work in the building? You coming from the party? Maya takes the chair opposite Peter's desk. He stands waiting. A little put off by her forwardness. MAYA You said that malignant narcissism was not evil. PETER Not pure evil. That's correct. MAYA And also that. PETER -LRB- uncomfortable. -RRB- Listen, I'm sorry, but I'm running late. MAYA That there is no such thing as evil with a capital `` E.'' PETER Not the most popular opinion, but yes. MAYA What if I told you I was a malignant narcissist? Intrigued, Peter stops what he's doing and sits down. PETER A narcissist does n't admit it. It's the extreme of self - denial. MAYA -LRB- ignoring Peter's comment. -RRB- And I also believe in God and the Devil. In fact, I know they exist. PETER Well, by saying that, you're acknowledging the existence of a higher power. Which, to a narcissist, is impossible. MAYA I murdered my parents, Mr. Kelson. And while they deserved it, I still went to confession the following Sunday. Peter leans back in his chair. Studies her carefully. Does n't really know what to say. PETER Ooooooh - kayyyyyy. MAYA In the end, the jury saw it my way. PETER Well, then it all seems to be working out for you. Listen, Ms? MAYA Do you remember Henry Birdson? The math professor who won the Salwen Medal, then went home and killed his family? PETER -LRB- irritated. -RRB- What's that got to do with you? MAYA Last week the Catholic Church certified him as genuinely possessed. You realize how rarely they make that ruling? PETER I do. MAYA An exorcism was just held for Birdson. It failed. Disastrously. Which means there's still a demonic spirit present in his body. -LRB- then. -RRB- I was wondering, perhaps you'd like to go meet Henry. He's pretty amazing. PETER I'll bet. MAYA On television, you seemed so sure of yourself. If you're really that confident, you'd be willing to let someone prove you wrong? PETER The world would be so much simpler if it were all just about good and evil. Unfortunately I find it much more slippery and elusive place. MAYA -LRB- intrigued by Peter's mind. -RRB- Well, I think it's very simple. Here's a tape of Birdson's exorcism. -LRB- drops tape on Peter's desk. -RRB- I'll be at the Public Library. Tomorrow at 2. if you want to meet him. Maya rises and heads for the door. Seductive. A certain power in her clarity. MAYA -LRB- CONT'D. -RRB- I believe that murder and murderers are the most interesting proving ground for these kinds of questions. Do n't you? Peter knows he agrees, but before he can respond, she's gone.", "EXT. PETER'S APARTMENT BUILDING - EARLY EVENING It's a small, elegant building in Chelsea. Scaffolding covers exactly half of the exterior. Building's being sandblasted. CONSTANT GRATING NOISE. Work area's flooded in artificial spotlight.", "INT. LOBBY - CONTINUOUS Peter walks past the building's doorman, JOSEF. Eastern European, mid - 60's, formal and outwardly polite. Josef nods a professional `` good evening'' to Peter who acknowledges Josef as he continues toward the elevator. PETER -LRB- indicating noise. -RRB- Great sound. How the hell do you live with that all day? Josef laughs politely, he likes Peter. Peter presses the elevator button and waits, sticking his free hand in a pocket and as he pulls out Maya's tape, he remembers as. The BELL to the elevator DINGS and the door SLIDES open. Peter inspects the tape with some curiosity, then stuffs it back into his pocket, momentarily lost in thought. Stepping into the elevator, he suddenly PULLS in a breath, startled. PETER -LRB- CONT'D. -RRB- Mrs. Levotsky, jeez you. His comment is directed at an impossibly - elderly woman, MRS. LEVOTSKY. She scowls as though this was the only expression her parents could afford for her. She holds her cane with her right hand, with her left she tries to balance her antiquated laundry cart. PETER -LRB- CONT'D. -RRB- Let me help. But when Peter reaches for the cart, she waves him off with a deepening in her scowl that we do n't want to see get any deeper. The elevator door slides SHUT.", "INT. HALLWAY - CONTINUOUS Peter puts the key in his door, apartment 5 - A. Glancing down the hall, he sees Mrs. Levotsky struggle toward her door. As she feels his stare, she turns slowly around and to Peter. MRS. LEVOTSKY What're you look at? Pissed off, Peter shoves the key into its lock and goes in.", "INT. PETER'S APARTMENT - CONTINUOUS It's dark, except for refracted light from the building opposite. Peter FLIPS on the interior lights and we can see lots of money has been spent here ; the interior's warm and tasteful. It's eclectic, evolved. Works of art pepper the surroundings. A small, luminous aquarium sits by the entry wall. PETER -LRB- drops food into aquarium. -RRB- Hi guys. -LRB- calling. -RRB- Claire? No answer.", "INT. PETER'S KITCHEN - CONTINUOUS Peter heads into the open kitchen. The flood lights on the outside cast strange, distorted shadows of people moving. Peter reaches down behind the refrigerator and fishes out a pack of cigarettes. He turns on the vent over the stove and lights up, blowing the smoke directly up into the vent, tapping the ashes directly down the sink drain. Unseen by Peter, a cigarette ash drops and lands on the stove.", "INT. PETER'S LIVING ROOM - CONTINUOUS Peter reappears a moment later, holding a bottle of beer. Takes off his jacket, laying it on top of the sofa. He moves over to the CD player where he flips on some contemporary music. Then he takes a long swallow of beer and sits back down into the sofa. PETER Better. BUMP, BUMP, BUMP. Peter looks up at the wall, irritated. PETER -LRB- CONT'D. -RRB- Mrs. Levotsky, we really need to have a couple brews and talk one of these days. Peter takes the remote to the CD, turns up the volume. The lights on the equalizer. They go from the middle range of green and yellow up to the orange and occasionally red, indicating the volume is pushing `` complain.'' In response, Mrs. Levotsky BANGS on the wall a little harder. CLOSE ON A luminous fly - fishing lure, with a black thread body and wings of transparent green and yellow fabric. It's locked in a tiny vice, its barbed hook shining.", "INT. PETER'S LIVING ROOM Peter, all concentration, is bent over a magnifying glass, using two tiny precision hooks to wrap thread onto the lure. He's at a table in the corner of the living room. A colorful collection of finished lures are displayed on his work area, below a watercolor of a man fly - fishing. Peter gets frustrated as he repeatedly tries to hook a thread and misses. In the b.g., a leather framed photo of Peter with his parents at an exquisite lake. Peter pushes himself back from the table. Takes a beat. Walks over and picks up the tape Maya gave him. He studies it for a second. Then he naps off the CD player, puts the tape on the cassette deck and hits `` play.'' There's no sound. He turns the volume way up. There's a HUM, but nothing else. Annoyed, Peter hits `` forward,'' then `` play.'' Still nothing. He pushes the volume to the top. PETER -LRB- to himself. -RRB- What'd you expect? BAM, BAM, BAM, BAM, BAM.", "INT. MRS. LEVOTSKY'S APARTMENT - NIGHT From this P.O.V., the HORRENDOUS ROAR of Birdson's EXORCISM is heard. Mrs. Levotsky raises her cane in desperation.", "INT. PETER'S LIVING ROOM From this P.O.V., the tape continues to play soundlessly. Peter hears rapid POUNDING from Mrs. Levotsky's apartment. Faster, more frantic. The pictures on his wall SHAKE violently. PETER Oh. come on, lady! Give me a break! Mrs. Levotsky's POUNDING continues for some time. Finally ending in a booming THUD. Peter looks up at the wall, waits, then smiles. PETER -LRB- CONT'D. -RRB- Little cough syrup will do ya, eh, granny? Peter bends down to snap off the tape, failing to notice that the lights on the equalizer are PUSHING HIGH into the red on all channels. He turns off the tape and puts on a Sonny Rollins CD. The music begins at an EAR - PIERCING volume. Peter scrambles to turn it down, then flops back onto the sofa.", "INT. PETER'S APARTMENT - LATER The door CLICKS, then opens. Claire moves in carrying bags of take - out. She sees Peter dozing on the couch. Claire kneels beside him, gives him a kiss and Peter leaps out of his sleep with a start. PETER Shi. Sorry, honey. I was having the weirdest dream. CLAIRE Bad? PETER -LRB- does n't want to go over it. -RRB- Weird. The book again. Sex spelled backwards. CLAIRE I must really be slacking off. Hungry? PETER Uh. sure. I. what? CLAIRE Sushi.", "INT. KITCHEN - LATER Claire is clearing her plate as Peter picks at the remains of a sushi dinner. Claire notices the cigarette ash Peter dropped earlier, picking it up and smearing the ash between her fingers. She shoots a glance at Peter, but does not comment on her discovery. CLAIRE I ca n't believe it's already starting to get dark so early. PETER Hmmm. CLAIRE You know, there was a guy on the radio today trying to explain why we're losing daylight. Quarks and dark matter, things like that. Even how daylight savings has caught up with us over the last hundred years and our universal watch is just fast, you know? Claire looks up, seeing Peter is lost in thought. CLAIRE -LRB- CONT'D. -RRB- Peter, where are you? PETER Sorry. It's just. a strange woman waltzes into my office today. Tells me she murdered her parents and can prove Satan exists. CLAIRE -LRB- dismissive. -RRB- Did she waltz in or fly on little bat wings? PETER -LRB- unacknowledged. -RRB- Says she can get me in to see this killer. CLAIRE Now that you're on TV, you're a magnet for all the wackos out there. Claire sees Peter's thinking about it. CLAIRE -LRB- CONT'D. -RRB- Oh, Peter, you're going to pursue this. PETER -LRB- sees her concern. -RRB- No. Of course not. -LRB- checking out the food. -RRB- Mmmm. Anago. My favorite.", "INT. INTERROGATION ROOM - DAY George Viznick's lawyer is seated at the table. He's impatient. A door opens. A manacled Viznick is brought in by two GUARDS. His orange prison jumpsuit is badly ripped in back. A few bruises are visible on his torso. Viznick stands impassively as his restraints are unlocked. DEFENSE ATTORNEY George, come in. -LRB- sees his client. -RRB- What the hell happened to you? VIZNICK It's nothing. DEFENSE ATTORNEY Sure it is. If the guards did this, we can file charges. VIZNICK Not the guards. -LRB- smiles. -RRB- Some of the prisoners are easily disturbed. DEFENSE ATTORNEY You have to tell me who did it. Viznick leans closer to the lawyer. VIZNICK I can take care of myself. DEFENSE ATTORNEY I'm gon na go make a stink. Sit tight. I'll make sure you get a change of clothes. The attorney exits.", "INT. VIEWING ROOM - DAY Peter and Smythe enter a small room with a few chairs. It's dominated by an oversized, one - way window that allows them to look onto the adjacent interrogation room. A speaker system lets them hear what's going on, but they ca n't be heard. A GUARD enters with a replacement outfit. Viznick stands passively as his restraints are unlocked.", "INT. INTERROGATION ROOM - DAY From this side, the window is a mirror. In its reflection, Viznick is seen peeling off his clothes.", "INT. VIEWING ROOM - CONTINUOUS PETER Seems George is n't making too many friends in lockup. SMYTHE Yeah, look at that sweet face. You'd never guess he killed nine people. I'm gon na get my smokes. Be right back. PETER You're too old to smoke. Wo n't be able to shoot hoops with your grandkid. Smythe gives Peter a dirty look, ignoring the advice, as he exits. Peter looks back down at his notes. GUARD #1 -LRB- O.S. -RRB- What the fuck's that?! Peter looks up and sees the shocked Guard staring at Viznick's bare back. It's covered by an enormous tattoo depicting Christ hanging upside down from the bottom of a cross, pinned there by a nail through his feet. His dangling arms end in stumps. His severed hands are still nailed to the crossbar. The effect is horrific yet mesmerizing. As Peter watches, Viznick puts on a shirt, covering the tattoo, and then sits with his back to Peter. The cops and guard exit. Peter moves closer to the glass. PETER -LRB- contemptuous. -RRB- You do n't fool me, Georgie. Viznick's head tilts. Ever so slowly, he turns around until his eyes meet Peter's. He smiles.", "INT. INTERROGATION ROOM Viznick's looking at the mirror. His reflection looks back.", "INT. VIEWING ROOM Peter's thrown. Is he seeing what he thinks he's seeing? Spooked, he moves three feet to his right. Viznick's stare follows him without hesitation. Perplexed, Peter moves again and again, the killer continuing to track him. PETER What the hell? Peter looks up as Smythe re - enters the viewing room. Sees Peter's fear. SMYTHE What's the matter with you? PETER He's looking right at me. Both men turn to face Viznick, who is now gazing placidly a few inches to the left. PETER -LRB- CONT'D. -RRB- He could see me. SMYTHE -LRB- offers Peter a cigarette. -RRB- I'll quit, maybe you should start. A docile Viznick pivots in his chair and yawns. PETER Maybe. my imagination. Peter gives Smythe a short smile.", "EXT. CITY STREET Peter crosses the street from the police station. He steps out between two parked cars and immediately into the path of a speeding van. Suddenly, a hand reaches out, jerking him back. The van ZOOMS by, missing Peter by inches. He looks at his savior, it's a CRANKY middle - aged woman. CRANKY WOMAN -LRB- acerbic expression. -RRB- Wake up! Peter stares at her as she walks by. She turns, sticks out her tongue at him.", "INT. ELEVATOR - LATER Peter ascends. The button for the fifth floor is illuminated. The elevator chimes. He looks up and sees the elevator stopping on the fourth floor. He steps back to make room. It's Claire. CLAIRE Hey, what are you doing here in the middle of the day? PETER Forgot my car keys. What are you doing on the fourth floor? CLAIRE I spaced out. PETER Well, it's a nice surprise. Should I hit the `` stop'' button? He leans in and gives her a sexy kiss.", "EXT. NEW YORK PUBLIC LIBRARY - DAY Maya's waiting. A group of Japanese TOURISTS including several women in kimonos, a group of Catholic school GIRLS in uniform and a mounted POLICEMAN are part of the street scene. Maya stamps out her cigarette as Peter pulls up.", "INT. RANGE ROVER - DAY As they take off, Peter motions to his cupholder, where two coffees sit securely. MAYA -LRB- picks up coffee. -RRB- Thanks. I'm glad you came. Take the Williamsburg Bridge. As Maya glances over at Peter, she's slightly fascinated. Peter remains reserved, but polite. MAYA -LRB- CONT'D. -RRB- So. what did you think of the tape. PETER I think you gave me the wrong one. MAYA -LRB- carefully. -RRB- What do you mean? PETER -LRB- slightly irritated. -RRB- It was blank. Nothing on it. You gave me the wrong one. Maya takes a sip of coffee to conceal her shock. MAYA You're sure? There was nothing? PETER I cranked it all the way up. Nothing but hum. Maya's unnerved. Peter sees it. PETER -LRB- CONT'D. -RRB- So what'd I miss? MAYA -LRB- covering well. -RRB- You're right. I must've made a mistake.", "EXT. PARKING LOT Maya and Peter are walking towards the entrance. She's touching the cuffs of her sleeves.", "INT. HOSPITAL CORRIDOR Peter and Maya turn the corner and approach the door to Birdson's room. An ORDERLY is walking with them. ORDERLY Should n't we wait for the doctor? MAYA I'm sure she wo n't mind. -LRB- re : the door. -RRB- It's not locked? ORDERLY Not necessary. anymore.", "INT. BIRDSON'S ROOM - DAY Maya and Peter enter the room. Followed by the orderly. A motionless Birdson lies on his bed. Eyes closed. His body curled backwards at a horribly severe angle and his arms are wrapped tightly around his torso. He's a gruesome sight. An IV TUBE is taped to his wrist and an EEG is attached to his head. The brain wave monitor indicates no activity. PETER Jesus. A beaming Dr. Allen walks in. She's a little starstruck. DR. ALLEN Mr. Kelson, what a pleasure to meet you. I have to say your instincts about the criminally insane are impeccable. I am a fan. PETER Quite a compliment coming from you, doctor. Dr. Allen realizes Maya's beside him. DR. ALLEN -LRB- to Peter. -RRB- When your secretary called, she made no mention of her coming, too. PETER -LRB- glancing at Maya. -RRB- My secretary? DR. ALLEN You're aware that this woman was party to the so - called exorcism. PETER No, I was n't, actually. DR. ALLEN You should know I never felt Mr. Birdson needed anything but professional psychiatric care. And then, minutes after they left, he suffered a stroke. He's comatose. No brain wave activity at all. Dr. Allen adjusts Birdson's IV unit, re - taping an already swollen hand. PETER So you do n't believe his condition is the result of anything supernatural? DR. ALLEN Of course not. They put him through severe mental stress. Causing this aneurysm. MAYA Dr. Allen, could you please tell Mr. Kelson what you heard as you tried to enter Mr. Birdson's room? DR. ALLEN -LRB- ignoring Maya. -RRB- I certainly hope you're not lending any credence to this. MAYA -LRB- aggressive. -RRB- What did you hear? Peter looks at Dr. Allen questioningly. DR. ALLEN The patient was in great distress. Naturally he was. yelling. MAYA And was he in distress when you opened the door? Or was he sitting here, relaxed, at this table? DR. ALLEN -LRB- calmly. -RRB- There is a medical explanation for everything that happened. MAYA -LRB- boring in. -RRB- You heard voices, you know you did. There's a silence in the room. Dr. Allen stares at Maya. ORDERLY It sounded like a hundred people to me. Maya, Peter and Dr. Allen turn and look at the orderly. Peter's shocked by the orderly's admission. Glances back at Dr. Allen. DR. ALLEN I've already said, Mr. Birdson was agitated. Victor, why do n't you go and check on the patient in room 5. Her tone is frighteningly friendly. The orderly leaves. Peter looks at Maya, then Dr. Allen. PETER -LRB- curious. -RRB- Just describe it to me, the scene, when you came back. As Peter speaks, Maya has an uncomfortable feeling. She turns and sees Birdson STARING AT HER. Eyes wide open. Above him, the monitor's still showing no brain wave activity. He grins at her. MAYA Oh my God! Peter and Dr. Allen turn quickly - as Birdson snaps his eyes back shut. MAYA -LRB- CONT'D. -RRB- He just woke up. He's awake. What they see is a motionless man in exactly the same position as before. The monitor's still showing nothing but steady, horizontal waves. Dr. Allen shakes her head at Maya's outburst. Dismissive of her altogether and then to Peter. DR. ALLEN I'm surprised at you, Mr. Kelson. And now I'm afraid I'm going to have to ask the two of you to leave.", "INT. RANGE ROVER Peter drives out the hospital gates. Maya's with him. The radio is on. Peter's angry. PETER Where do you get off pretending to be my secretary? MAYA I had to. PETER And this is evil? The guy had an aneurysm and now he's in a coma. MAYA That's their explanation. You might not believe me. PETER Well, why should I? -LRB- beat. -RRB- Alright, what's your name, where do you live, when did you kill your parents? Maya does n't answer. Peter stops at a red light. A pick up truck full of teenagers with a young girl at the wheel, RADIO BLASTING SOUL MUSIC, pulls up next to them. Maya uses the moment to get out and walk quickly away. Peter watches her go for a moment, then stares at her paper coffee cup, picks up his cell and dials a number. PETER -LRB- CONT'D. -RRB- Detective Smythe? -LRB- beat. -RRB- Hey, Mike, it's Peter. Could you pull some prints off something for me?", "INT. ELEVATOR - NIGHT Peter rides the elevator in his building. It stops and he gets off.", "INT. PETER'S APARTMENT - MOMENTS LATER Peter enters the living room. CLAIRE -LRB- O.S. -RRB- In here. Peter moves into the bathroom. Claire's sitting in front of a mirror. Her hair's up in a smooth twist, and all she's got on is a bathrobe. We note a photograph of Peter's mother sporting a similar hair style on the dresser. CLAIRE -LRB- CONT'D. -RRB- So, guess which stylist just got this month's `` Elle'' cover? Peter runs a hand through his hair. PETER -LRB- half - heartedly. -RRB- You're amazing. Claire smiles, in her own world. CLAIRE Hurry up, you do n't want to be late.", "INT. PLUSH HOTEL - NIGHT A glittering Italianate chandelier. As we look down we SEE : Men in black tie and women in high fashion chic form a mosaic of money and power beneath the chandelier's blazing lights. A lavish publisher's party is underway in the hotel's ballroom. In one corner, a CROWD hovers around Peter and Claire, the quintessential perfect couple. She's in a dramatic skintight dress. He looks great in the latest tux. Adrenaline BUZZ of admiration has soothed Peter, but he's still distracted. Claire, however, is her outgoing self. William in a rented tux and Susan, in a modest gown, hang on the edge of the golden crowd. A JADED YOUNG MAN is leading the conversation. YOUNG MAN Did you hear how the TIMES zinged Paul Guenette's new book? They said `` He writes for the ages - between five and twelve.'' Everyone enjoys that remark. A gorgeous woman named LAUREN moves closer to Peter, flirting. LAUREN I saw you on the news. But I think you're even better live. CLAIRE -LRB- interrupting. -RRB- He is. By the way, Lauren, did you ever finish your book on tattoo art? I hear your publisher wants his advance back. LAUREN -LRB- cold. -RRB- That's not true. SECOND YOUNG WOMAN I think Rhonda Huston's assistant was just made an editor at S&S. SECOND YOUNG MAN The guy with the weird fingernails? Imagine looking over galleys with him. YOUNG MAN So, Peter, how crowded is the field now? There are, what, seven books in the offing about the Viznick case? PETER Yeah, but no one has the access I've got. LAUREN Is it true the cops used a psychic? SECOND YOUNG WOMAN I saw a psychic once. Some of these guys are definitely for real. SECOND YOUNG MAN Oh, really? I dropped $ 250 on a session once and they guy did n't get a thing right. YOUNG MAN And you, Peter? Where do you stand? PETER Wherever there's room. Peter feels a tap on his shoulder. A WAITER serving hors d'oeuvres is standing there. PETER -LRB- CONT'D. -RRB- None for me, thanks. The waiter wipes the frame and as he does, John Townsend is revealed, beads of sweat glistening on his brow and a gun in his hand. TOWNSEND -LRB- whispering. -RRB- God will forgive me, the time of transformation is so near. He points it at Peter's face. Peter is in shock. Everything around him seems to blur, except the gun floating a few feet away. But Townsend hesitates, obviously conflicted. And suddenly, the woman to Peter's left SCREAMS. The waiter's tray goes flying. With astonishing speed, William flings himself onto Townsend. They both go down. A SHOT RINGS OUT. Pandemonium. Screams & shouting. Peter sees that William has Townsend in a brutal headlock. Townsend looks panicked, helpless. Peter is pulled back, as the two men disappear beneath a swarm of other bodies.", "INT. BALLROOM - NIGHT The enormous room is empty. All the guests are gone. The uneaten food and overturned chairs testimony to their hasty departure. Peter, Claire, Susan and William are sitting in a semi - circle. Smythe walks over. PETER Thanks for handling this. SMYTHE Sure thing. Look, I've got enough, between your preliminary statements and all the witness accounts. You can go home. -LRB- to Peter. -RRB- Gim me til morning. Find out who he is. Until then, do n't sweat it, huh? Just your random bad cheese trying to hole you. CLAIRE Well said. SMYTHE Colloquialisms 101. My only `` A'' in the Academy. Peter stands and pats Smythe on the back. PETER Thanks again for everything. SMYTHE Hey, do n't thank me. Somebody up there likes you. Peter looks at William, then hugs him in a powerful embrace. PETER -LRB- moved. -RRB- Will, this is. WILLIAM It's okay. They smile, exhausted. SUSAN Can we please leave now?", "EXT. LOBBY - PETER'S APARTMENT BUILDING - NIGHT Peter and Claire exit a limo. The scaffolding is still in place but the workers are gone. Josef pushes open the door for Peter and Claire. JOSEF Good evening, Mr. Kelson. Miss Claire.", "INT. LOBBY Peter and Claire enter the lobby. JOSEF -LRB- urgent. -RRB- I want to tell you. your neighbor, Mrs. Levotsky, she's dead. Peter and Claire are both caught off guard. CLAIRE What? That's horrible! PETER What happened? JOSEF -LRB- enjoyably ghoulish. -RRB- Apparently she killed herself sometime last night. -LRB- confidentially. -RRB- The paramedics told me she hung herself. Climbed up on her dresser, stocking around her neck, but I do n't know. She was completely rheumatoid. -LRB- realizes he's speaking with too much relish. -RRB- It's a shame. Anyway, though you should know. Peter's stunned and now completely unnerved. PETER Yeah, I appreciate it. Thanks, Josef. CLAIRE -LRB- frightened. -RRB- When did they find her? JOSEF A few hours ago. Claire's blown away by the night's events.", "INT. PETER'S HALLWAY - CONTINUOUS Peter has slowed to look at the yellow police cordon, as Claire moves on into their apartment.", "INT. PETER'S KITCHEN A bit later, Peter and Claire, both still shaken, sit across from a relieved Father James, drinking coffee. FATHER JAMES It's moments like this that make it clear. All that matters is those we love are with us. Peter's touched. He pats James on the shoulder. CLAIRE I'm still shaking. PETER I ca n't believe Will killed him. CLAIRE Thank God he did. Claire stands, exhausted. She bends down, kissing Peter on the cheek, only because James is there, and then she gives Peter a sweet hug. CLAIRE -LRB- CONT'D. -RRB- -LRB- deeply felt. -RRB- I do n't know what I'd do without you. Peter hugs her tightly. An emotional moment. CLAIRE -LRB- CONT'D. -RRB- I'm going to bed. Do n't be long. Claire exits. James looks at Peter, sees the night's events have taken their toll. FATHER JAMES What is it? PETER Something he said, just before. FATHER JAMES He spoke to you? PETER Yeah. It did n't make any sense. FATHER JAMES Listen to me, Peter. You ca n't let the ravings of a madman disturb you, okay? PETER You're right, but it's funny. All my life I thought I was simply a man who did n't believe in any of it. FATHER JAMES No matter, my son, he believes in you. PETER But it's true. I have no faith. It's strange. When that gun was pointed at my face tonight, I was surprised, but never frightened. It was as if I knew nothing could possibly happen to me and. in that one moment I did n't care about anything. Not eve my own life. FATHER JAMES Peter. Your life must matter to you because it matters to all of us who love you. PETER You know, I respect that you have such faith, James. I do n't understand it, but I want you to know that despite our differences, I admire you and I always will. Father James stands and claps his hand on Peter's shoulders. FATHER JEREMY I appreciate your saying that. I'm gon na go now. I believe you're wanted elsewhere.", "INT. MAYA'S ROOM - EARLY MORNING Maya is making coffee in a drip pot on a hot plate. There is a soft knock on the door. MAYA Come in. Father Jeremy enters and shuts the door behind him. FATHER JEREMY His faith wavered. He tried to shoot Kelson last night. I do n't know all the details. MAYA Was anyone else hurt? FATHER JEREMY I do n't know. I do n't think so. A curious conflict of emotions passes across Maya's face - sadness coupled with relief. She sits heavily on the bed. FATHER JEREMY -LRB- CONT'D. -RRB- Be careful, Maya.", "EXT. MANHATTAN - MORNING The hustle and bustle of a typical weekday morning. As Peter crosses the street, nearing his office, suddenly a MESSENGER on a bicycle skids and falls. The Messenger's on the ground, crashed, his mail everywhere. Immediately Peter moves to help him up, grabbing an arm, trying to collect the spilled envelopes. All the morning PEDESTRIANS step over or around the mess, in typical New York fashion. The embarrassed Messenger thanks Peter, AD - LIB, and we.", "INT. PETER'S OFFICE Peter's typing at his computer. He is surrounded by newspaper clippings, interview transcripts and other research relevant to the Viznick trial. His printer JAMS. As he moves to fix it, the intercom blinks. PETER Yeah. MRS. QUINTANA It's Detective Smythe. Peter picks up. PETER What's up? SMYTHE -LRB- O.S. -RRB- How're you doin' today? PETER -LRB- tough. -RRB- It's another day. I think I'm alright. SMYTHE -LRB- O.S. -RRB- You got the right attitude, anyway, look, we got ta talk.", "EXT. POLICE STATION - DAY Smythe exits the building just as Peter approaches. SMYTHE I'm fed up inside, let's walk. Peter and Smythe take a walk down the street. Smythe stops a moment at an outdoor vendor. Buys a hotdog. SMYTHE -LRB- CONT'D. -RRB- We traced this guy to a seminary in Newark. If you can believe it, he was a deacon. -LRB- shifting a file under his arm. -RRB- Talked to the man in charge there, a Father Frank Page. He said the gunman, John Townsend, was caught up in some nonsense about the Devil, along with a priest named Lareaux and a woman named Maya Larkin - the same woman whose prints were on that coffee cup. Now can I please get the fill? Smythe licks a mouthful of mustard just ready to drip, then takes a huge bite off his dog. PETER She came to me with a wild story about demonic possession. SMYTHE -LRB- hands Peter Maya's file. -RRB- She's got a juvenile record from New Orleans. Parents died when she was 13. PETER Parents died? SMYTHE Yeah, murder - suicide. PETER What happened? SMYTHE Mother killed the father, then killed herself. Crime of passion. PETER She told me she killed them. SMYTHE Not what the records show. Anyway, she was a runaway, arrests for vandalism, petty theft, drugs, the whole bit. Parole records show she graduated from community college, moved into a retreat house, teaches some classes at the seminary school, has n't been in any trouble since. Smythe finishes his hot dog and chucks the wrapper into a nearby can. SMYTHE -LRB- CONT'D. -RRB- We hauled her in earlier but did n't have anything hard to tie her to Townsend. Far as the priest goes, he wo n't be bothering you. Suffered a complete mental breakdown, during - get this - during an exorcism. PETER Where is she now? SMYTHE Had to let her go. -LRB- beat. -RRB- I see you thinkin' there, superstar. Do n't.", "EXT. RANGE ROVER - DAY Peter drives into the Lincoln Tunnel. Two men stand outside the entrance, arguing. As Peter passes, they begin fighting. SMYTHE -LRB- V.O. -RRB- I'm sure I do n't have to remind you she's still a possible accessory to attempted murder.", "INT. CLASSROOM - DAY Maya stands before a roomful of children. She holds an over sized picture of a hat. THE CLASS Le Chapeau. MAYA Tres bien. SMYTHE -LRB- V.O. -RRB- and the obvious, you could get another gun in your face. Next is a picture of a dog. THE CLASS Le Chien. PETER -LRB- V.O. -RRB- Do n't worry, I wo n't go anywhere near her. The door to the hall is abruptly flung open. Peter strides in. Maya sees his anger. PETER -LRB- CONT'D. -RRB- -LRB- harsh. -RRB- We need to talk. MAYA Peter, please. Peter's overt belligerence scares the children. PETER Now! He motions towards the door. Maya turns to the class. MAYA Children, I'll be right back. Just stay in. Peter grabs her and escorts her to the door. MAYA -LRB- CONT'D. -RRB- -LRB- unconvincing smile. -RRB-. your seats. Be right back. Do n't worry. And as she's pulled into the hall, we SEE :", "INT. SCHOOL HALLWAY - CONTINUOUS Maya, still holding the brightly colored vocabulary pictures, stands with Peter in the hallway. Opposite her in the hall, is a window, and to the left, an old radiator with chipped enamel paint. Next to the wall is a plain wooden bench. Maya stands with her back to her classroom door. She continually checks on her kids through a window in the door. PETER -LRB- really pissed off. -RRB- Last night a guy named John Townsend tried to shoot me and now I find out you knew him. What the fuck is going on? MAYA Please, the children. Peter moves in close, crowding her against the wall. PETER -LRB- lowering his voice. -RRB- Why did he try to kill me? MAYA -LRB- looking at classroom. -RRB- Townsend believed, just as God became man in Christ. -LRB- Maya turns back to Peter. -RRB- So Satan will assume human form. I believe it too. Peter grabs the pictures out of her hand and pitches them into the hall. PETER And the point is? MAYA At the exorcism, Birdson boasted that Satan is about to take over the body of a man. -LRB- long pause. -RRB- You are that man, Peter. PETER What?!?! MAYA It's true. Birdson knew your name, he was writing it in numerical code. It was n't easy but I figured it out. It spelled your name. PETER -LRB- sarcastic. -RRB- Why did n't Birdson just say so? MAYA If you're possessed, you ca n't reveal anything Satan wants hidden. Unless you trick him. PETER -LRB- now completely unimpressed. -RRB- Trick him. MAYA The good outwitting the bad. It's like Birdson had a split personality. PETER -LRB- he's had it ; laughs. -RRB- You should think about getting professional help. MAYA You're already contaminated. It's why you could n't hear the tape. There's probably a pentacle near your bed. To sanctify you. PETER I'm not going to be drawn into this. MAYA I know this sounds crazy. I understand. Check your parents' blood types. Are you sure your parents are your birth parents? PETER My parents are dead. Do n't even think of bringing them into this. The school bell rings. Within seconds, the hallway is flooded with kids and teachers. A smiling Father Frank stops out of a classroom. As he sees Maya and Peter down the hall, his face darkens. He starts towards them. MAYA -LRB- moving to Peter ; whisper. -RRB- You're about to become the anti - Christ who is born unholy and becomes the door to eternal suffering in this world. PETER -LRB- pissed off at himself now. -RRB- If you or any of your lunatic friends ever come near me again. Peter notices Father Frank moving up on Maya and takes off.", "EXT. STREET - OUTSIDE SEMINARY - DAY An angry Peter walks to his Range Rover. The wind is up and it has started to rain. Peter's under - dressed, hunching his shoulders against the elements. He's parked a distance from the Seminary. As he begins a slow jog to his car, the rain begins to come down a bit harder. Suddenly, Peter slips on the wet pavement and falls, scraping his hand. A moment, while he gets his bearings and then he picks himself up, the rain now shooting down the side of his face.", "INT. MAYA'S ROOM IN THE SEMINARY - CONTINUOUS An anxious Maya sits at her desk. Suddenly, there's a hard knock on the door and Father Frank enters. Maya looks up, unprepared. FATHER FRANK I've had it. Townsend's dead. The police are calling and now I see you having a scene in front of the children. I'm sorry, Maya, you've been with us for many years, but effective immediately, I'm rescinding your right to live at the church. MAYA Father, I have nowhere else to stay. FATHER FRANK You have a sister in New Orleans. Maya looks up at him, but Father Frank's out the door.", "INT. FATHER LAREAUX'S ROOM - CONTINUOUS Father Lareaux sleeps quietly, quasi fetal. Maya moves to the room soundlessly. A renewed sadness stabs her at the sight of Lareaux. She studies him a moment, then cups his face in her hands. Slight disturbance in Lareaux's body, like a child's startle reaction. Maya lets go and leaves as quietly as she came.", "INT. ITALIAN RESTAURANT - DAY Upscale. Claire and Peter at lunch. Peter is clearly agitated. His clothes are still wet and pretty wrinkled. Claire looks at him with tenderness. PETER I'm gon na have to get a restraining order. What a nightmare. CLAIRE I do n't know. In a way, I'm glad it all happened. Peter looks at her skeptically, a little pissed off. PETER You're glad somebody tried to kill me? CLAIRE -LRB- nervous about confronting him. -RRB- No, of course not, but I think now that this has happened, a lot of things can start to come out. PETER -LRB- still pissed. -RRB- Yeah, like. CLAIRE -LRB- coming on a little stronger. -RRB- Like you need to admit that losing your parents when you were twelve was traumatic. PETER -LRB- unafraid. -RRB- It's with me all the time, Claire, I just do n't like to talk about it. CLAIRE Well, it shattered your faith in everything. PETER -LRB- trying to lighten it. -RRB- I'm just temporarily off my game. CLAIRE -LRB- boring in. -RRB- You need to believe in something besides yourself. PETER I believe in you. A moment where Claire hesitates, then she decides to let herself be flattered. CLAIRE -LRB- leaning in, close to Peter. -RRB- I love you. You look a mess. Why do n't you go home and clean up before you go back to work. Claire kisses Peter, brief but deep, as she gulps in a short gust of air. Outside the rain has stopped as Claire gets up, taking off for work without him.", "EXT. STREET - OUTSIDE SEMINARY - DAY Maya is sitting on an iron bench outside the playground. A shoulder bag with some of her belongings lays beside her. She stands, picks up her sack and walks across the street to a small diner.", "INT. DINER - DAY It's warm, crowded and NOISY. WAITRESSES banter with longtime customers about the ups and downs of everyday life. Maya enters in a state of complete distress. She sits at the counter next to a MOTHER and her LITTLE GIRL. Their drinks and sandwiches are spread out everywhere. The little girl cusp her hand around a tall glass of milk. She wears black patent shoes, a red jacket, hood attached. Maya bows her head and covers her eyes. She's losing it. MAYA -LRB- whisper. -RRB- I ca n't do this anymore. The little girl, about 4 years old, tugs on Maya's sleeve. LITTLE GIRL You have to put your napkin in your lap. MOTHER -LRB- embarrassed. -RRB- Gina! Maya looks at the solemn little girl. MAYA -LRB- to her mother. -RRB- It's okay. -LRB- she puts her napkin in her lap. -RRB- Better? MOTHER I'm sorry, she's very into rules. LITTLE GIRL Does n't your daughter put her napkin in her lap? MAYA -LRB- softly. -RRB- I do n't have a daughter. I'm not married. LITTLE GIRL Are n't you lonely? MOTHER Okay, Gina, that's enough. Maya sees the little girl wants an answer. Moved, she bends close and whispers in her ear. MAYA I have someone who takes care of me. She pulls back. The little girl looks up at Maya reprovingly. LITTLE GIRL -LRB- cruelly. -RRB- But he's dead. Jesus is dead. And then she smiles at Maya, a wicked smile. Maya looks at the little girl, and then at her mother. The mother's eyes are sparkling with malice. The room begins to warp and distort. And we hear a choked back breath. Horrified, Maya quickly turns in her chair and faces away from the vision, praying silently with eyes closed. After a moment, she opens her eyes. The room looks normal again. In the reflection of the mirror across the counter she sees that the two seats next to her are empty, the utensils untouched. Sighing with relief, she turns back. But the little girl and her mother are still there. The mother's face suddenly looks elongated, her eyes move too close together and her nose disappears. A frightening distortion, but momentary. And the little girl's smile widens with spite. LITTLE GIRL -LRB- CONT'D. -RRB- You're so weak. With a loud, frightened cry, Maya sweeps her arms out, knocking all the nearby glasses, utensils and dishes to the floor with a tremendous crash. Milk bleeds over the counter. All eyes turn to her. Distraught, Maya sees the little girl and the mother are gone. She grabs her bag and runs out the diner.", "INT. PETER'S APARTMENT - DAY It's quiet, shadowy. The aquarium has begun a slow leak and a small puddle of water has pooled beneath it. Peter enters. He notices the water on the floor. He goes into the bedroom.", "INT. PETER'S BEDROOM - DAY The ledge of the building across the way can be seen from Peter's window. A WOMAN is moving near the ledge, setting out a grouping of potted geraniums. From downstairs, a shaft of light is visible. Peter changes his clothes Then, he feels the scrape on his hand. Looks at it. As he moves to the bathroom. Washes his hand and as he does so, he checks his reflection in the mirror. Stares at himself a moment, then sticks out his tongue. Checks it. And then dries his hand, moving back to the bedroom, carrying his towel with him. Peter glances at his bed a moment. Half - amused, he leans over and checks behind the picture hanging above the headboard. Nothing. Then, he bends down, checking under the bed. Again, nothing. Then, he moves to a bedroom closet, pulling down a black and gray speckled file box. Inside, a series of newspaper clippings, graphic photos. Yellowed with age, on of which falls on the bed, titled, `` Unsolved Brutal Murders.'' Peter riffles past the clippings to the coroner's report. He speed reads it, until he gets to his parents' blood types : `` Andrea Kelson - A negative.'' Jack Kelson - O positive.'' Peter stares at the information. Confused by what it's supposed to mean. Then, he pulls on a turtleneck sweater, ready to go back out. PETER This is ridiculous. Peter exits the bedroom and steps back towards the living room, carrying the towel.", "INT. PETER'S LIVING ROOM Peter passes through to his front door throwing his towel on the puddle of water.", "INT. SECRETARY'S ANTE ROOM - PETER'S OFFICE - DAY Peter walks in, eyeballing Mrs. Quintana's desk. MRS. QUINTANA Good of you to stop by. PETER -LRB- breezy. -RRB- We millionaires yet?", "INT. PETER'S OFFICE - DAY Peter enters to find Michael. Peter sizes up the man who's casually studying Peter's personal desk photos. MICHAEL Umm, Melvin Szabo, this is Peter Kelson. Peter, this is the psychic. The stranger looks up. He's young and cocky, with thick glasses. He's holding a picture of Peter with his parents. PETER -LRB- to Melvin. -RRB- I'd appreciate it if you'd put that back. MELVIN You are the younger of two. He puts down that photo and picks up one of Claire, as Peter walks over to his chair and a position of more control. MELVIN -LRB- CONT'D. -RRB- -LRB- indicating Claire. -RRB- You're afraid of committing to this girl. Peter grabs one of his pens and begins rolling it between his fingers. MELVIN -LRB- CONT'D. -RRB- But she worships you. Your mother's dead but your father's alive. PETER Nothing you could n't find out from reading the papers. And you're already wrong on one count. MELVIN Viznick will get off and Michael's got a crush on you. Michael looks alarmed. Peter notices his pen is leaking all over his hand. PETER You know what? You can go. MELVIN Suit yourself. But does this mean anything to you? Melvin picks up a pen and writes `` X - E - S'' in florid script on a pad. He holds it out for Peter's inspection. Peter is rattled. MELVIN -LRB- CONT'D. -RRB- You do know, do n't you. That these are also numbers. Greek numbers, 600, 60 and 6 - or 666. The sign of the Devil. PETER Get out of here. MELVIN -LRB- pleasantly. -RRB- Goodbye. He sticks out his hand and grabs Peter's. His expression changes from one of amused disdain to fascinated curiosity. MELVIN -LRB- CONT'D. -RRB- Wait a minute. His arrogance melts away. Melvin's face tightens. A shudder of fear passes through him. MELVIN -LRB- CONT'D. -RRB- -LRB- strangled gasp. -RRB- God will forgive me. the time of transformation is so near. But the voice is that of John Townsend. PETER -LRB- really shaken. -RRB- Get the fuck out of here!", "INT. NYC STREET - DAY Peter stands in the middle of the sidewalk as the wind violently whips at his jacket. He gazes upward to the mute, gray sky. Finally he lowers his eyes. He sees something that angers him.", "EXT. CATHOLIC CHURCH - DAY A sprawling Catholic church stands before him. Peter regards it with wrath. He pushes open the door and tries to enter, but a group of LITHUANIAN parishioners pushes past him, blocking his way. A priest calls a farewell. LITHUANIAN PRIEST -LRB- O.S. -RRB- -LRB- in Lithuanian. -RRB- See you all next week! The entry finally clear, Peter goes inside.", "INT. CATHOLIC CHURCH - CONTINUOUS It's dark, forbidding. The priest exits around a corner. Peter looks at the vast and spacious altar. Above it is an enormous wooden crucifix. Peter moves down the aisle toward the altar. ECU The sorrowful face of the Christ figure looks down on Peter with pity. The body hangs, gaunt, wracked with pain. The wrists pierced by nails, the feet cruelly hammered together. Peter stops at the first pew. He looks up at the crucifix. Defiant. PETER Go ahead, do something. Show me. He waits. For a split - second, there's a pristine silence. Then the sound of the wind rises in the church. With that, the right wrist SHATTERS with a noise like a rifle shot. Freed from one of its supports, the heavy wooden Christ SLAMS FORWARD at an awkward angle. The other wrist SNAPS IN TWO. For a second, the Christ figure trembles. Then, with a sickening sound, the entire wooden body falls forward, swings sideways and PLUMMETS down. Peter does n't want to look. The figure is now hanging upside down, held only by the brace at its feet. Above it, each hand remains pinned to the cross. It's an EXACT COPY of Viznick's tattoo.", "INT. BIRDSON'S ROOM - DAY Birdson's eyes open.", "EXT. CATHOLIC CHURCH Peter staggers outside, dodging two DOGS fighting, a vicious NOISY battle on the Rectory lawn. And in the b.g., a homeless man takes a piss into a rivulet of white liquid. Peter walks in a daze, pulling his car keys from his pocket.", "EXT. CITY STREETS - DAY Peter's car moves through traffic, driving slowly, erratically. He scrapes a parked car, but does n't stop, Corners poorly, almost hitting a pedestrian.", "EXT. STREET OUTSIDE SEMINARY - DAY Peter pulls up in his Range Rover across the street from the playground. He gets out of his car and crosses the street. As Peter walks closer, he sees Maya. She's sitting on a swing, looking off into space, rocking ever - so - slightly back and forth, a pile of smoked, crushed cigarettes and her shoulder bag at her feet.", "EXT. PLAYGROUND - DAY Standing beside Maya is an agitated DAY - CARE WORKER. Their conversation is FAINTLY AUDIBLE. Across the yard, a SECOND DAY - CARE WORKER is shepherding the last of the kids back inside the center. The children are carefree and rambunctious, unaware of the adult drama taking place around them. DAY-CARE WORKER Go on, get them inside! -LRB- sympathetically to Maya. -RRB- Look, you do n't have a job here anymore. They want you to leave. CLOSE ON Maya's face. She's devastated. In the b.g., a YOUNG GIRL does a triple on the roll bar. Three girls and one boy compete for distance on the monkey bars. The Latino Boy and one of his friends LAUGH and break free from the line heading back to the school. They circle back toward Maya and swoop by her, waving exuberantly, then return to the line and go into the school. The day - care worker follows them as : Peter walks through the gate. He walks fast toward Maya, who sees him coming, from a distance. Maya continues rocking ever so gently on her swing. Peter puts out his hands and stops it. Stares at her, scared. PETER -LRB- lost. -RRB- I do n't understand what's going on. MAYA There's no reason why you should. -LRB- tells him as gently as possible. -RRB- This has been planned from your birth. You fit all the criteria that we know of. Never baptized, born of incest, devoid of faith. PETER But I was baptized. And I certainly was n't born of incest. MAYA You were not baptized. At least I do n't believe it was Christian. Your baptism was performed by your uncle, James McKenzie. PETER Yes, I know. MAYA The only baptism he ever performed in seven years as pastor at Bedford. PETER So what? MAYA Seven years. One baptism? He's your mother's only brother PETER Yes. Maya stares at Peter. MAYA Do you know your parents' blood types? PETER I looked at the coroner's report. My father's O positive and my mother. A negative. MAYA -LRB- taking this in a gasp of air. -RRB- Peter, your blood - type is AB negative. There's no way your birth father can be O positive. You father is not who you think he is. PETER -LRB- really shaken. -RRB- So. then the coroner's report is probably wrong. I mean. this is ridiculous. There's been a mistake. I do n't believe any of this. MAYA Then why are you here? That silences Peter. He sits heavily in the swing next to her. MAYA -LRB- CONT'D. -RRB- Peter, I believe your baptism was perverted. Look at your certificate. Your mother was the only witness to it. Your blood - type does n't match who you thought your father was. Peter. I'm sorry. PETER -LRB- desperate. -RRB- And if what you're saying is true, what would happen to me? MAYA I do n't know. -LRB- beat. -RRB- I do know that people who are possessed have to accept evil in some way. I do n't know if it works the same way in this instance. I do n't even know when it's going to happen. Peter looks at Maya for solace, but there is none. He glances away, runs a hand through his hair and. PETER When Townsend tried to kill me, he said something strange like. -LRB- struggles to remember. -RRB- `` The time of transformation is near.'' MAYA -LRB- putting something together. -RRB- Townsend, he had some of Father's books.", "EXT. ROUTE 23 - NIGHT As night falls, the Range Rover moves out of the suburbs and deeper into the countryside. There's a bright moon. The highway is a ribbon of silver.", "EXT. RURAL ROAD- LATER THAT NIGHT Their car pulls up to a dirt driveway. Bordered by sagging fences, the mail box reads `` Townsend.'' At the end of the driveway is a two - story, weather - beaten farmhouse with a garage. There are no lights on. Maya says a silent prayer and steels herself.", "EXT. FRONT OF TOWNSEND'S HOUSE - CONTINUOUS The ground floor windows are shuttered. Maya tries the front door. It's locked. Peter walks to the end of the porch, looking for another entrance. Maya looks at the door, then jams her elbow through a small pane of glass next to the doorknob, breaking it. PETER -LRB- inward smile at Maya. -RRB- Okay.", "INT. FRONT HALL - NIGHT Peter and Maya enter the dark hall. Peter reaches for a light switch and flips it on. They see a hallway in front of them, stairs to the right and living room off to the left. For a moment, they stand in silence. Peter opens a closet door, glancing inside. PETER What are you looking for exactly? MAYA The books themselves or maybe some pages he ripped out. Maya walks into the living room.", "INT. LIVING ROOM - CONTINUOUS The furniture is shabby and worn. There's a battered sofa, a new TV and a coffee table. Maya goes to the table and quickly looks through a pile of magazines. Peter enters and makes a fast tour of the room. Maya gestures towards the entrance of an adjacent room. MAYA In here.", "INT. LIBRARY - NIGHT Maya turns on a standing lamp. This room looks more promising. There's an old piano in one corner. On one wall are two bookshelves. And next to a set of wooden chairs is a small reading table. Maya starts scanning the rows of books. Peter is immediately drawn to the table where he sees new copies of his books. Chilled, Peter turns to Maya. PETER He's got all my books. Maya looks over at Peter. MAYA We needed to know all we could. PETER I'm going to look around.", "INT. HALLWAY - NIGHT Peter crosses the hallway into the dining room.", "INT. DINING ROOM The room's dominated by a long wooden dining table, covered with a chintz tablecloth. The window shutters are open and moonlight streams in. Peter tries the light switch. It does n't work. He walks around the room - and is spooked by a glimpse of movement. It's his own reflection in a mirror. He sees a closet door and opens it. Inside, it's totally dark. He pulls a hanging cord. A light goes on revealing a small pantry filled with canned goods, foodstuff. Peter goes to the other side of the pantry and opens another door.", "INT. LIBRARY - NIGHT Maya continues to comb through the bookshelves.", "INT. KITCHEN Peter steps into a dingy kitchen. A dirty coffee cup and a plate sit on the counter near the sink. At the other end of the kitchen, past the refrigerator, is a door leading outside. Peter approaches the door, glances through the window. He then turns and walks through a doorway.", "INT. BACK HALLWAY - NIGHT Peter stands at the base of the rear staircase. As he starts to ascend the stairs. PETER -LRB- calling out. -RRB- I'll be upstairs.", "INT. LIBRARY Maya is flipping through Peter's books. Suddenly, she hears the tread of footsteps overhead. It startles her. MAYA -LRB- reassuring herself. -RRB- Peter. She puts down the book and turns around. Surveying the room, she sees an entrance to the hallway that services the master bedroom.", "INT. HALLWAY Maya walks through the hall towards the open door of the master bedroom. She goes in.", "INT. MASTER BEDROOM - CONTINUOUS An antique oak bed dominates the room, with two suitcases lying on top. The place is a mess - clothes strewn everywhere. There's a roll - top desk in the corner with some books and papers on it. One of Townsend's jackets is draped on the desk chair. On the opposite wall is a door that's open just a crack. The interior of a bathroom is visible on the other side. The door has a smoky, opaque window built into its top half. Maya starts sifting through the papers on the desk. She can hear Peter's footsteps moving slowly above her. And the sound of doors opening. She opens the desk drawers. The first one is stuffed with bills. The second has checkbooks, bank statements. The third is stuck shut. Maya kneels down to get better leverage. From this perspective, we can see the open door to the dark hallway behind her. She pulls and pulls again. As the drawer pops open, a shadow falls across her. She WHIRLS. REVERSE It's Peter. PETER Not much upstairs A couple of empty bedrooms and a bathroom. Anything here? Maya looks at the contents of the drawer. It's full of Christian literature. MAYA Nothing yet. PETER I'll go outside and take a look in the garage. Maya nods. Peter exits the room. She hears his footsteps fade away and a door slam. As she stands up, she knocks Townsend's jacket off the chair. A book falls out of a pocket. It's on of the books Townsend took from Lareaux's room. Maya opens it. ECU Tiny, cryptic notations are scrawled in the margins.", "EXT. TOWNSEND'S HOUSE Peter walks down the side steps and over to the large garage.", "INT. MASTER BEDROOM - NIGHT An intrigued Maya turns another page.", "INT. GARAGE - NIGHT Peter enters. Sees a switch. Flips it on and a fluorescent light BUZZES ON. He peruses old boxes, two dusty, black filing cabinets. Ruston curtain rods, a box of broken appliances and an old stove covered with an orange tarp.", "INT. MASTER BEDROOM As Maya reads, she hears a light, SCRAPING noise. She glances up. Silence. She waits. Nervous, Maya then goes back to her book. Excited, she spots something that's important. She hears another light SOUND. MAYA Peter?", "INT. HALLWAY Maya listens. She hears a few footsteps in the adjacent bathroom. MAYA -LRB- to herself. -RRB- Jesus, Peter, you scared me.", "INT. HALLWAY Book in hand, Maya walks over to the bathroom door and flings it open. MAYA -LRB- rushes in. -RRB- Look at this. She steps into the bathroom and freezes.", "INT. BATHROOM - NIGHT Henry Birdson is standing in the corner, same green regulation drawstring pants and matching T - shirt. He has a fish - gutting knife in his hand. With an evil smile, he calmly steps forward, imitating the gesture Maya saw in the restroom at the seminary. He raises his knife, holding it out in front of her. Maya stands still. She wants to run more than anything in life, but she does n't. Instead, she reaches out one hand and touches the knife ever so gently with the tips of her fingers. Fro a second, neither one moves. Maya's face registers great fear. Birdson slides the knife back. Maya sees blood on her hands coming from a cut on her fingers. She trembles, but does n't run. Maya uses the humility and calm of an experienced exorcist. MAYA -LRB- a whisper. -RRB- Henry, Christ loves you. Birdson looks at her with the impassive, malignant gaze of a snake. MAYA -LRB- CONT'D. -RRB- Christ can save you, Henry. Birdson shakes his head as Maya's dangling cross picks off particles of pure light. MAYA -LRB- CONT'D. -RRB- Just say his name, say his name and you'll be free. Birdson, agitated, moves closer. MAYA -LRB- CONT'D. -RRB- -LRB- soothing. -RRB- Say his name. He slowly traverses the air in front of her face with his knife. Maya steps back, trapped, her eyes never leaving Birdson's. MAYA -LRB- CONT'D. -RRB- -LRB- with love. -RRB- Christ loves you. For a SPLIT SECOND, the real Henry Birdson appears, then he smiles grotesquely and in a new VOICE : BIRDSON -LRB- lascivious. -RRB- Yes, but does he swallow? Maya dives out the door. With a SNARL, Birdson recovers and lunges for her.", "INT. MASTER BEDROOM - CONTINUOUS Maya throws herself back into the bedroom, SLAMMING the door shut behind her as Birdson's body smashes into it. Maya sees Birdson's shadowy form trying to break the glass with an animal - like fury. Scrambling against his mounting pressure, Maya tries but fails to get the lock to close. The door SHUDDERS, as Birdson pummels it with his body. Birdson CRACKS the glass. A spiderweb of shards rips through the window. BIRDSON -LRB- different VOICES. -RRB- Fucking bitch! Open the door! Maya drops Lareaux's book, shouldering her weight against the door. He hits it so hard, it opens. Maya shoves it back and, straining, manages to lock it. At the same moment, she realizes there's no more pressure on the other side. She stops pushing. POV Over her shoulder, we see the door behind her slightly open. She turns and realizes this, takes two steps toward that door and then freezes. Maya's in the center of the room, equidistant from all the doors. She looks back at the door to the bathroom. No shadows block the light at its base. Ever so slowly, keeping her eyes on the bathroom door, she reaches over, unlocks and then pulls open the door to the hall. It swings open silently. She strains, listening as hard as she can. But the only sound she can hear is her own shallow breathing. She says a silent prayer. Then steps gingerly toward the door to the hallway. As she takes a second step : Birdson BURSTS through the bathroom door behind her. He leaps and slashes at her, cutting her arm as she bolts through the door to the hallway.", "INT. HALLWAY - NIGHT flying into the :", "INT. LIBRARY Where - WHAM! - she collides full tilt with a body. MAYA AHHHH! It's Peter. They hit the ground, groggy. MAYA -LRB- CONT'D. -RRB- Get up! PETER What's the. OH SHIT! Birdson races in, knife held high. Peter grabs the small reading table and uses it as a shield as they scramble to their feet. Whipping the knife back and forth at lightening speed, Birdson corrals them into a corner. It takes all of Peter's skill to keep him at bay. MAYA -LRB- dawning realization. -RRB- Peter, let go of the chair! PETER What? Birdson menacingly circles left, then right. MAYA LET GO OF THE CHAIR! As Birdson makes another thrust towards them, Maya suddenly jerks the chair away, clearing a path for Birdson's knife to hit Peter's abdomen. Peter SCREAMS, bracing himself for the impact, an impact that never comes. Birdson freezes, stopping the thrust millimeters from Peter's stomach. He's caught in an unseen trap, paralyzed. MAYA -LRB- CONT'D. -RRB- -LRB- insistent. -RRB- He ca n't hurt you. In that split second, Peter realizes Maya's right. He takes the chair and SMASHES Birdson in the head. Birdson goes down. Peter kicks him. He does n't move. Peter grabs Birdson's knife. PETER -LRB- to Maya. -RRB- You okay? MAYA -LRB- O.S. -RRB- When's your birthday? PETER What? He looks back at Maya, who's holding her upper arm. Blood begins to drip down her side. Peter immediately grabs hold of her hand, carefully pushing her arm up in the air. PETER -LRB- CONT'D. -RRB- Hang on, get it up, go on, higher. MAYA Your 33rd birthday. The transformation will be a perversion of Christ's rising from the dead. Townsend discovered it in one of Lareaux's books. Peter goes to the window, grabs one of the lightweight curtains and uses the knife to shred a piece. He takes it and bandages Maya's arm. MAYA -LRB- CONT'D. -RRB- It'll happen at the exact time of your birth. PETER -LRB- he stops. -RRB- That ca n't be right. -LRB- as he ties off the dressing. -RRB- My birthday's tomorrow. With Peter and Maya in the foreground, we see, although they do n't, that Birdson sits up, his eyes open, staring at a point above Maya and Peter. A horrible rictus smile moves across his face. Birdson's eyes roll back into his head until only white remains. Then he begins to jerk uncontrollably, his face contorting into one frightening expression after the next. Peter grabs the fish knife, moving in front of Maya. Birdson's limbs begin to torque out of control. He convulses on the floor then suddenly sits up closer to camera. His eyes roll back down into a normal position. His face becomes calm. He looks at Peter and Maya. A horrified look crosses Birdson's face as his arm rotates backwards, bones snapping and muscles ripping. Involuntarily spewing from Birdson in ever - changing animal like voices. BIRDSON -LRB- in Latin. -RRB- My demon of anguish, help me create confusion and suffering forever and ever. and ever. -LRB- geni tormentorum, mihi commoventi perturbationem miseriamque in saaecula saeculorum, in saecula saeculorum, in saecula saeculorum. -RRB- ECU Birdson's head turns on his neck in unnatural manner, his body still convulsing. As he stops speaking, his head snaps back around so he's facing Peter and Maya. Suddenly, the chandelier above them flickers, the globes EXPLODING and showering them with shards of glass. Birdson's entire body begins to vibrate, urine seeping out from beneath him. Then, horrifyingly, a horn like protusion begins to push out from the upper edge of Birdson's head, growing, straining. until finally the horn BURSTS through blowing his head apart. Birdson falls back onto the floor. And as Birdson finally dies, Peter looks at the corpse, then drops heavily onto an arm of a chair. Drained, Maya sits next to him. They lean against one another, together in trauma. MAYA He could n't stop us and that's how he was punished. -LRB- insistent. -RRB- Peter, what time were you born? PETER I do n't know. -LRB- pulls in a breath, overwhelmed. -RRB- Probably have a copy of my birth certificate. my apartment.", "EXT. RURAL ROAD - NIGHT Peter's Range Rover moves at a fast clip down side streets and back roads.", "INT. RANGE ROVER Highway's dark, except for Peter's headlights, as they roll up and down a hilly back road. Trees lean in on both sides. The effect is eerily like driving in another world. Maya flips through Lareaux's book. A bible she took from Townsend's house sits on her lap. Looks over at Peter a moment. MAYA There's nothing else here. PETER What's the bible for? MAYA Comfort. Peter shrugs. He starts to drive poorly. His fatigue is showing. Maya looks up as : POV Up ahead, the road begins to parallel a lake. Glimpses of black water can be seen through the trees. She powers down her window to get some air. Maya looks over at Peter. His face appears normal. Then, she seems to hear a soft sound - GASPING FOR BREATH. Then : The car suddenly drifts into the other lane, heading straight for a guard rail which outlines the lake. Instinctively, Maya lunges for the steering wheel. MAYA -LRB- CONT'D. -RRB- Watch it! She manages to twist it just enough so the car misses the rail, but careens off the road. The car RIPS through the bushes with an EXPLOSIVE ROAR and SKIDS down the bank and plunges into the lake below. And we : An enormous SPLASH of water as Peter's car disappears into the lake, the water BUBBLING and as we go under, we see the windshield CRACK and SPLINTER and then we HEAR a ROUGH SCREECH of brakes. A horrendous long skid and. MAYA -LRB- CONT'D. -RRB- PETER!", "EXT. BACK ROAD - CONTINUOUS The car has come to a final stop, sitting sideways in the middle of the road, leaving huge skid marks behind it. The windshield's untouched. The road empty.", "INT. RANGE ROVER Peter's breathing hard. Maya's trembling, her hands on the wheel. PETER What the hell's the matter with you?", "EXT. RANGE ROVER Maya pops her seat belt and bolts from the car, leaning against the door, her breathing still LABORED. Peter gets out, moving around to her. He sees she's having difficulty breathing. She chokes out a cough. His anger turns to concern. PETER Are you alright? MAYA -LRB- softly. -RRB- Sometimes, when I feel weak, I have these. visions. PETER What do you mean? MAYA I see things. My worst fears. You need to know something, Peter. I was possessed once. Like Birdson. It took Father Lareaux six days to pull me out of it. Peter grabs hold of her, an impulsive move, ambiguous in its intent and unknown even the Peter, then : MAYA -LRB- CONT'D. -RRB- I'm scared I'm slipping back. PETER -LRB- scared himself. -RRB- We're going to do this. MAYA You have to say that. PETER -LRB- a smile emerges. -RRB- That's true. Maya smiles back.", "EXT. COUNTRY MARKET - NIGHT Just past midnight. A small, dirty white stucco and wood country mart. The only light is a stark, household flood. TWO PEOPLE leave the market, carrying a six pack and a few munchies. They hop into their car and take off. And at the edge of the lot, Peter's car is parked.", "INT. COUNTRY MARKET Peter and Maya SNAP the lids of their coffees. Somewhere a radio is ON. Maya moves to the AGING CASHIER as Peter walks over to a wall of generic first - aid remedies. HE grabs the largest band - aids there. And as he joins Maya at the counter, we see it's the cashier's radio. DEEJAY -LRB- filtered. -RRB- Two minutes. Cashier looks them over as he turns up the volume. DEEJAY -LRB- CONT'D. -RRB- -LRB- sarcastic. -RRB- Now this daylight thing is up to two minutes and scientists say sooner or later, we'll be losing like fifteen minutes a day. OWNER -LRB- rings them up. -RRB- Five - twelve. Peter pays. Out of pennies, the cashier pulls out a new roll and bangs it open inside of the register. DEEJAY Now I'll never be on time for work.", "EXT. MARKET Peter and Maya sit on the edge of the curb, sipping coffee. Maya pulls out her cigarettes and lights up. She offers him the pack. He gratefully takes one, lights up and inhales. PETER Why did you lie to me about your parents' deaths? MAYA I was desperate. I knew you wrote about murders. I needed a way in. Suddenly a car motors toward them. Just as a DEER decides to cross the two - lane road. The car's HIGH BEAMS startle the deer, it stops, snaps a stunned look at Peter and Maya. A moment of stillness, then it gallops to safety just as the car speeds by. Suddenly, quiet again. PETER Close call. For the first time in a long time, it's really hitting me. Life's tenuous. MAYA I know it is. Right after my parents died, I went to the beach. -LRB- short intake of breath. -RRB- I was in the water. Everything was calm. And then one of those really big waves hit me. Hard. Pulled me straight to the bottom. I struggled and finally ran out of air. -LRB- gulps air. -RRB- If it had n't been for my sister who pulled me out, I would've drowned. Legally dead for a couple of minutes is what they told me. PETER No oxygen to the brain. MAYA Maybe that's my problem. PETER Why did n't you just go along with Townsend. Get rid of me. I would've. MAYA Until it happens, you're still a human being. PETER What about after? MAYA Only your body will remain. I believe your soul will be at peace. If we kill you, Satan ca n't stay. She see him react to this.", "INT. PETER'S LIVING ROOM The door opens. It's dark, except for the luminescence of Peter's aquarium. We see some of the fish are listing and the aquarium still has a slow leak. The floor's wet. PETER Claire, are you home? He SNAPS on the light. Silent. Stuffy. He opens a window. MAYA More air. Always a good thing.", "INT. BEDROOM Peter's box of records is on the bed where he left it. The ancient news articles are scattered. Some fallen onto the floor. Peter picks everything up as Maya sifts the contents on the bed. We see passing glimpses of a passport, bankbooks, insurance policies, a will, a set of keys, and then a parchment copy of Peter's birth certificate. Maya picks it up. CLOSE ON Time of Peter's birth is 4:55 PM. MAYA Tomorrow afternoon. Four forty - five. Peter absorbs this. PETER -LRB- false bravado. -RRB- Plenty of time. MAYA -LRB- fingers set of keys in box. -RRB- What are these? PETER I do n't know. Extra apartment keys. What's it matter? MAYA -LRB- desperate. -RRB- Maybe I should check Lareaux's book. It's in the car. Be right back. Do n't go anywhere. PETER Sure. Maya leaves the room. Moments later, Peter hears the front door open and close. Does n't move, then, suddenly, in a flurry of anger, he knocks the phone off the bedside table. A lamp flies off with it. Then he stands and sweeps his arm across the top of his bureau, knocking off pictures, moments, a jewelry box. Turning, he flips over a chair and kicks it viciously. Breathing hard, he slumps back on the bed. Across the room he sees a picture of Claire has slipped partially behind the bureau. Its glass has shattered and only half her face is visible. Peter immediately picks it up. Stares down at this smiling girlfriend. He lays it carefully back on the bureau, trying to regain some control. He breathes deep, then begins gathering everything back on to the bed. He looks at the set of keys. Picks them up. Compares them with his own set. Trying to think, he stares out his bedroom window at the building ledge across the way. He SEES the potted geraniums, now arranged, a simple red flourish. Then a light snaps on in the apartment below and as he looks down, noticing it, his eyes shift, a momentary realization and he looks back down at the keys and leaves his apartment.", "INT. ELEVATOR Peter gets on. He looks at the unknown keys again. Then pushes the button for the fourth floor.", "INT. APT. 4-A - NIGHT Peter knocks softly on the door. Then more loudly. No response. He tries on of the new keys, slowly giving it a turn. It works. He tries the lower lock. The click of this key is audible as.", "INT. APT. 4-A The door swings open to a dark apartment. Peter stands warily at the door, then flips on the lights. Nothing there. No furniture. No occupance. Peter steps in and closes the door. He looks around at the emptiness. A cockroach scurries across the floor in front of him.", "INT. LIVING ROOM He walks through the living room and.", "INT. BEDROOM Only a small table and lamp have been left in the corner. Peter switches on the lamp. He notices the ceiling's been dropped. A grid of white tile panels, held by a lightweight metal frame. He stares at it. Very slowly he raises the broom upward and pokes on of the panels. It moves easily. He pushes harder and manages to angle the panel, sliding it back, so that some of the original ceiling is visible. He sees : A lurid splash of color, a tiny fragment of white line, and part of a strange design. Peter stares hard at it. He grabs the small table from the corner and drags it to the center of the room. Standing on it, he can now easily reach the tiles with his hands. He SMASHES the panels loose, KNOCKING THEM OUT and dropping them on the floor. Two, three, four more tiles. Then five. The floor below him is littered with ceiling tiles. Peter looks up at : CEILING An enormous PENTACLE. Nine feet wide. It sprawls across the ceiling. Runic symbols crest its edges. For a moment, Peter's mesmerized.", "INT. FOURTH FLOOR HALLWAY The door of Apt. 4 - A is thrown open. Peter takes off, leaving the door ajar behind him.", "INT. PETER'S APARTMENT - CONTINUOUS The front door is thrown open. Peter steps in to see : Maya, standing, slightly tense, talking to somebody. The other VOICE is obscured by the sound of a garbage truck moving down the street. And as Peter moves farther inside, past the door, he sees : Claire, sitting on the overstuffed chair. CLAIRE -LRB- gets up. -RRB- There you are! My God, darling, I've been so worried. Are you alright? PETER Claire. CLAIRE This is the person. you were talking about? MAYA Where were you? Peter holds out the keys to Claire, ignoring Maya. PETER What're these? CLAIRE I do n't know. What are they? PETER I found them in your file box. CLAIRE Must be a spare set. PETER I thought the spare set was in the kitchen drawer. PETER -LRB- CONT'D. -RRB- -LRB- to Claire. -RRB- You were hiding them. Claire gets up, moving to Peter, and reaches to embrace him. He lets it happen, but does n't reciprocate. CLAIRE Honey, you're exhausted. Do you want to lie down for a little while? PETER -LRB- moving across the room. -RRB- I found the pentacle. Maya's eyes widen with alarm. She turns quickly toward Claire who's watching them. And as Peter follows Maya's stare, in one slow move, Claire pulls a Beretta from a drawer in the aquarium table. She points the gun directly at Maya. CLAIRE She's been stalking you, Peter. PETER So you're going to kill her? Put the gun down Claire. Claire ignores him, but before she can make her move, Peter has grabbed her wrist, twisting her back into the living room, trying to pull the gun out of her hand. Claire wrests free of Peter. CLAIRE Listen to me, I love you, Peter, I'm trying to protect you! PETER You really had me going, Claire. I was finally ready to propose to you. CLAIRE We're still going to be together. CLAIRE -LRB- CONT'D. -RRB- There's nothing you can do about it. -LRB- to Maya. -RRB- I've fucking had it with you. She lunges at Maya, one powerful move, but as she does, Maya moves out of the way. And as Maya spins around, Claire goes for her again, but she trips on the wet floor, losing her balance. As Peter grabs to catch her, she crashes horribly through the glass shelves. Peter is horrified. Then he walks to Claire and pulls the gun from her lifeless hand. Maya and Peter stare at each other in shock for a moment. Then Maya's pager sounds. She checks the number and goes to the phone and dials. As she does, Peter pulls a blanket off the sofa and covers Claire's body. MAYA Hi, it's me. What's going on? She listens, and her expression changes to one of relief. She hangs up the phone and turns to Peter. MAYA -LRB- CONT'D. -RRB- Lareaux. he's coming out of it. Let's go.", "INT. RANGE ROVER - NIGHT The car passes through the nearly deserted streets. A STREET SWEEPER passes, brushes whirring.", "EXT. SEMINARY - DAWN As the sunlight prisms on dew - covered grass, Peter and Maya pull into the seminary parking lot.", "INT. FATHER LAREAUX'S ROOM A small crowd of priests, including Father Frank, is in the room. Several stand next to the bed, blocking a clear view of Father Lareaux. Soft CLASSICAL MUSIC plays. The mood is upbeat. As the door opens, Father Frank sees Maya lead Peter in by the arm like a puppet or a lost soul. FATHER FRANK -LRB- vindictively. -RRB- I'm glad you're here. There's something you need to see. With only a cursory glance at Peter, he leads Maya to the bed. The other priests move away. Father Lareaux is sitting up against his pillows. He looks good, rosy cheeked - almost back to normal. LAREAUX -LRB- happy to see her. -RRB- Miette. Maya throws her arms around his neck, smiling for the first time in a long time. MAYA Father! Thank God you're better! I really need your help. We've only got a few more hours. LAREAUX Do n't worry. about the transformation, Maya. MAYA What do you mean `` do n't worry?'' LAREAUX -LRB- being careful not to wound her. -RRB- Well, in my prayers, I realized we've been fooling ourselves and probably. blown this all out of proportion. God would never allow anything like that to happen. Maya is floored. Father Frank looks at her scornfully. FATHER FRANK I told you this was myth all along. PETER -LRB- confused. -RRB- Does that mean it's over? Lareaux nods a `` yes'' at Peter, as Maya sits on the old priest's bed. Peter stands beside her. MAYA So. we won? LAREAUX -LRB- sweet smile. -RRB- Yes. We won, that's right. Maya plays with her cross, distractedly, rocking it back and forth between her fingers. Lareaux re - fluffs his pillows, looking away from Maya, moving slightly, making himself more comfortable. MAYA We won because Christ. triumphed over Satan? LAREAUX Um hm. That's right, Maya. MAYA So, if Christ won, that means, what does that mean, Father? That Satan. LAREAUX -LRB- tenderly, swallowing back. -RRB- Would you like to rest, Miette? You must be exhausted. Maya picks up a scapular from the dresser and moves in closer to Lareaux. MAYA -LRB- insistent. -RRB- So I guess Satan lost. Satan is the weak one. LAREAUX -LRB- breath coming in shorter bursts. -RRB- Miette, come here and relax. Maya is crowding Lareaux now, the scapular thrust almost directly in his face. MAYA -LRB- repeating, monotone. -RRB- I can relax, because Satan the coward, trembles before Christ, right? Father Frank moves over to Maya with another Priest. Sees Lareaux is having trouble breathing. FATHER FRANK All right. That's enough for now. He's just recovering. Take it easy, Maya. But Maya resists their tugging arms, leaning closer to Lareaux. MAYA But does n't he tremble, Father? Does n't he cower, like a frightened jackal? Satan, the half - wit. Maya continues, taunting, her cross dangling over Lareaux. MAYA -LRB- CONT'D. -RRB- -LRB- as slowly as she can. -RRB- The whimpering slave of Christ! The impotent dog on God's leash! Maya thrusts the scapular onto Father Lareaux's forehead. He recoils violently, as though burned. LAREAUX -LRB- vicious, another voice. -RRB- HE'LL MAKE CHRIST CRAWL! The entire room stares, transfixed, at Lareaux. Maya look at peter, then Father Frank, as she moves carefully off the bed.", "INT. FATHER LAREAUX'S ROOM - SHORT TIME LATER A nervous Father Frank is supervising the Jesuits as they empty Lareaux's room of its extraneous contents. He avoids looking at Maya. Father Lareaux sits calmly in a chair at the center of the room. None of the Jesuits meet his eye. One Priest tapes the curtains closed over the window. A lamp provides the only light.", "INT. CORRIDOR OUTSIDE LAREAUX'S ROOM - DAY Peter and Maya stand anxiously near the door, waiting. MAYA He's our best chance. If we can get him back. Without realizing it, she's touching her shirt cuffs. PETER What can I do? MAYA -LRB- emphatically. -RRB- You have to be experienced to do this. Just wait outside. Otherwise, you risk killing him. Maya looks at him, then clasps his hand briefly. She breaks off and walks over to Father Frank. MAYA -LRB- CONT'D. -RRB- You'll do it? FATHER FRANK I do n't have the experience. Father Thomas should officiate. Father Thomas, a tall Jesuit in his forties, strides down the hall. He's dressed in a long black cassock, with surplice and purple stole. He's resolute. Two other Jesuits, Father Malcolm and Father Jeremy, follow him. MAYA AND FATHER JEREMY STAND CLOSE TOGETHER IN THE HALLWAY. WE HEAR HER WHISPERED MURMUR. MAYA Forgive me Father, for I have sinned.", "INT. FATHER LAREAUX'S ROOM The priests enter and begin to prep the room. Father Malcolm goes to the closet and takes out the briefcase we saw at Birdson's exorcism. He opens it and takes out a bible, a cross a vial of Holy Water. We see Father Thomas don his cassock and scapular in the partitioned dressing area of Father Lareaux's room. Maya enters. Peter, from the doorway, sees her lock eyes with Lareaux. Finally, she turns away. Lareaux's smile widens. Father Thomas steps out from Behind the partition. FATHER THOMAS Tie him to the chair. Father Thomas makes the Sign of the Cross. Then, he places the tip of his stole on Lareaux's neck, and his right hand on Lareaux's head. Lareaux flinches. Father Thomas places relics of the Saints on Lareaux's chest. He writhes as if in pain. Father Thomas sprinkles Lareaux with Holy Water. Lareaux reacts as though it were burning oil. Finally, Father Thomas kneels, beginning the Litanies of the Saints, in Latin.", "INT. CORRIDOR OUTSIDE LAREAUX'S ROOM The last thing Peter sees as the door closes is Maya. Serious, tight, professional and outside the door, Father Frank is already mouthing his rosary : PETER -LRB- to Father Frank. -RRB- Now what? FATHER FRANK There's nothing we can do but pray. We'll be in the church. Father Frank leads the other Jesuits down the hall. Within seconds, Peter's alone. He looks at the door. Then he slowly moves closer to it, until he's a foot away. He tries to listen. Nothing. He leans even closer. FATHER THOMAS -LRB- O.S. -RRB- -LRB- in Latin. -RRB- Behold the Cross of the Lord. Depart, enemies! Unclean spirits, and all your companions, I command you. Tell me your name! Peter moves closer. FATHER THOMAS -LRB- O.S. ; CONT'D. -RRB- by the love and power of Christ, who has redeemed man from your grasp, I command you. Peter moves away and sits down on a bench in the hallway.", "INT. SMALL CHAPEL - DAY Fourteen Jesuits of mixed race, including Father Frank. Chant prayers in Latin.", "INT. CORRIDOR OUTSIDE LAREAUX'S ROOM Peter is sitting on the bench. He HEARS : VOICES -LRB- O.S. -RRB- Peter, Peter. He looks down the corridor. He sees no one. He looks in the other direction and sees a JANITOR eating a sandwich and pouring a container of MILK into a large glass. Once again, he hears : VOICES -LRB- O.S. ; CONT'D. -RRB- Peter, Peter. He looks at the door to Lareaux's room and sees the WALL BREATH IN AND OUT AS IF IT'S ALIVE. He runs to the door and puts his ear against it. FATHER THOMAS -LRB- O.S. -RRB- be gone and leave this child of the Lord God almighty. Be gone, by the power of Christ. Be gone, by the power of the Holy Spirit. Suddenly the imprint of a chair pushes against the wall as it will burst right through. Peter jumps away. He approaches the door. FATHER THOMAS -LRB- O.S. ; CONT'D. -RRB- In the name of Christ, I command you. Tell me your name! Suddenly a body slams into the wall which starts to ripple as if a subterranean shape were moving through it. The body appears to be climbing straight up the wall. There's an explosion of NOISE, shrieking and shouting, the sounds of furniture being violently overturned. Peter is mesmerized and scared. Hateful VOICES SWELL UP. VOICES -LRB- O.S. -RRB- Too late, too late, too late, too late. Peter touches the door knob to Lareaux's room. It is FREEZING COLD, so cold it burns. He pulls his hand away and wraps his jacket around his hand. MAYA -LRB- O.S. -RRB- Please, no! Peter is torn. His hand again moves to the doorknob. Another body SLAMS into the wall. More NOISE cries of PANIC, ANGER. and pain. FATHER THOMAS -LRB- O.S. -RRB- Move, move! A GROWLING ANIMAL is heard, like a BABOON SHRIEKING. Peter starts to turn the knob, then stops. He's caught, unsure until Maya calls out in agony. MAYA -LRB- O.S. -RRB- Peter, help me. Oh God! Peter flings the door open and steps inside.", "INT. LAREAUX'S ROOM - DAY AND THEN VERY FAST. The door SLAMS behind Peter and Locks itself tight. Then, Peter sees : The room is not destroyed. The room is FREEZING COLD, breath is visible. Lareaux is tied to the chair. Father Thomas is standing over him, with a crucifix in hand, the Eucharist on Lareaux's head. Maya and the younger Priests are kneeling just behind Father Thomas, overwhelmed. LAREAUX Gotcha! The lamp immediately goes out. Room is pitch black. FATHER THOMAS Jeremy, the door! We hear FUMBLING grunting. FATHER JEREMY It. I ca n't! FATHER THOMAS -LRB- continue subbing, in Latin. -RRB- Lowly beast, through the power of Christ. Let the door re - open. VOICES begin. MOCKING, speeded up versions of sentences we've heard before, LATIN and ENGLISH. LAREAUX -LRB- in Peter's voice. -RRB- Go on. Do something. Show me. -LRB- in Maya's voice. -RRB- I'm scared I'm slipping back. A beat. Then a normal voice. PETER Maya? A TORRENT OF PROFANITY drowns him out. A thousand voices, young and old, crying, cursing, filling the air with hatred and spite. Amidst this hurricane of sound, the lights begin to flicker at ultra - high speed, creating a strobe effect. The window bursts open, flooding the room with light. Father Jeremy races over and struggles to close it, but can not. Maya is revealed praying, eyes open. Peter and Father Malcolm are crouched near the door. A terrified Father Thomas is bravely standing, holding his crucifix in front of himself, facing Lareaux. Or where Lareaux was. The chair is empty Amid the deafening noise, Peter sees : Lareaux rise up behind Maya and encircle her throat with his hands as the HELLISH VOICES reach a crescendo. Lareaux begins to sing softly : LAREAUX Rock - a - bye baby, on a tree top. Peter leaps to pull Lareaux off her, but the aging priest surprised Peter by grabbing him and hold him at bay. As Peter struggles, Lareaux's expression shifts. His confidence vanishes and pain distorts his features. Lareaux falls to the floor in agony. Maya and Peter bend down to help him, but the noise makes it impossible for them to hear one another. Maya pulls open Lareaux's collar to try to get him more air and in that instant, the VOICES STOP. The lights POP on. Maya leans close to Lareaux, who's dying on the floor, MUMBLING incoherently. And on Lareaux's forehead, we see incisions resembling strange, unknown letters. Like they've been cut from within. The incisions are repeated on the backs of Lareaux's hands. The room is so cold, steam pops off the breath. Father Thomas moves fast, beginning the last rites in Latin. He makes the sign of the Cross on Lareaux's forehead, then : FATHER THOMAS -LRB- to Lareaux, in Latin. -RRB- Confiterisne vitia tua ante omnipotentem deum? -LRB- Do you confess your sins before almighty God? -RRB- LAREAUX the ark sank, the sun set, the ark sank again. MAYA -LRB- desperately. -RRB- Father, please do n't die. LAREAUX -LRB- in great suffering. -RRB-. art sank, sun set, ark sank again. Maya leans down, inches from the dying priest. Peter moves beside her. MAYA Father! For a split second, Lareaux surfaces from his confusion and looks at her with a great kindness. LAREAUX Ensemble pour toujours quoi qu'il arrive. As he dies, Maya is momentarily inert, tears of exhaustion. She's devastated. And we HEAR a single GRACE NOTE laced with an intake of BREATH as we", "INT. CORRIDOR OUTSIDE LAREAUX'S ROOM It's CHAOS as Jesuits rush in and out of the cell, helping the exorcism participants. Father Frank glares at Maya, as he helps clear the room. PETER -LRB- looking down at Maya. -RRB- I thought you were in danger. Maya backs away from Lareaux, who is being covered with a white sheet. A last glance and then she takes off with Peter.", "INT. RANGE ROVER Maya looks straight ahead, trying to shake off her fear. Peter looks at Maya, moved by her. Puts an arm around her shoulder, a momentary intimacy, then he pulls away. Finally, Maya looks at Peter. MAYA I'll be all right. -LRB- reflective. -RRB- Peter, at the very end, I think Father was back. I saw it in his eyes. PETER So, what does it mean. The ark sank and the sun set? MAYA He's been repeating that since Birdson's exorcism. I looked in every passage in the Bible and there's nothing about an ark or a sunset that tells us anything. PETER What did he say to you in French? MAYA That's his, I do n't know, his ` grounding' phrase for me, `` together, no matter what.'' PETER -LRB- deep sigh. -RRB- Terrific.", "EXT. NEWARK NEIGHBORHOOD - DAY The Range Rover enters a blue - collar residential part of the city, old townhouses on both sides of the street. The traffic is heavy and the Rover slows, pulling to the curb.", "INT. RANGE ROVER Peter studies Maya, admiring her in some new way. MAYA He was trying to tell me something. PETER -LRB- cynical. -RRB- And his message was `` Together, no matter what?'' A car pulls up alongside them. The driver, a middle - aged WOMAN, rolls down her window and calls out to Peter. WOMAN Helloooo - do you live around here? -LRB- Peter ignores her. -RRB- How do I get to the turnpike? The car behind her HONKS impatiently. IRKED MOTORIST THERE'S FIVE FUCKING CARS BEHIND YOU, ASSHOLE! Peter turns to the woman. PETER -LRB- does n't give a shit. -RRB- Lady, I do n't know. Offended, the woman drives off. Peter turns back to Maya, who's suddenly grabbed Townsend's Bible and furiously flips through it. MAYA Wait a minute. The message. He used French, he knew he could n't say it directly. The arc `` sank'' or `` cinq'' c - i n - q. It's French for five. The sun `` set'' or pronounced like `` sept''. The French word for seven. The arc `` sank'' again. -LRB- then. -RRB- It's five - seven - fie. Book chapter and verse! She finally stops at a specific section she was looking for. MAYA -LRB- CONT'D. -RRB- Book five, Deuteronomy, chapter seven, verse five. -LRB- reads. -RRB- `` But this shall you deal with them. You shall break down their altars and burn their graven images with fire.'' PETER And what's that mean? She knows.", "EXT. GAS STATION - AFTERNOON The Range Rover pulls up. Peter gets out. He's got a five gallon gas can. Maya enters the gas station MINI - MART. A clock reads 4:05. Afternoon NEWS plays on a TV. NEWSCASTER An international group of scientists will assemble in Geneva later this week in an attempt to determine the cause of diminishing daylight, a phenomenon which has baffled the world's finest scientific minds. In local news, the case of accused killer George Viznick ended in a mistrial today. Prosecutors vowed to press for a new trial immediately. Maya hands the clerk some money and glances outside at Peter filling the gas can.", "EXT. SAINT BENEDICTUS - AFTERNOON It looks quiet and serene in the afternoon light. Peter and Maya approach carefully. They see a collection of cars in front of the church. Unkempt and dirty, a few pedestrians stare at them. The gas bumps conspicuously against Maya's thigh.", "EXT. SAINT BENEDICTUS - SIDE ENTRANCE Peter pulls out Claire's gun. They step inside.", "INT. SAINT BENEDICTUS - CONTINUOUS Peter and Maya pass through the vestry and edge their way into the main cathedral. A MASS is in progress. A lay READER has memorized the text. READER God appears and God is light to those pour souls who dwell in night. Peter and Maya move in suddenly from the vestry, onto the altar, behind the reader. Maya's shocked by the packed - to capacity church. The crowd inside immediately switch their focus to Maya and then to Peter, who's just moved up onto the altar, standing unknowingly directly under the CROSS. READER -LRB- CONT'D. -RRB- But does a human form display. The reader sees the stares from the crowd, stops, and turns to Maya and Peter. The reader is wearing a small inverted cross around her neck. READER -LRB- CONT'D. -RRB- Welcome! In the crowd, Maya sees the little girl from the diner. Maya is stunned. The little girl catches Maya's glance, giving her a sly smile and then looks away. Her mother appears beside her. Unnerved, Maya looks at Peter, desperate. MAYA Eight minutes. Then, the priest at the front of the church, standing quietly next to the reader, turns slowly toward Peter, oddly very calm. And we see it's Father James. He smiles. Charming, gracious. FATHER JAMES -LRB- looking at gas can. -RRB- Did you really think you could just burn the church down. That some ritualistic hocus pocus could just end this? Alarmed, Peter looks at Maya, but her gaze is locked on James. Then Peter glances down at the dripping gasoline can in Maya's hand and as she sets it down. FATHER JAMES -LRB- CONT'D. -RRB- Lareaux was never free of us. He led you here. -LRB- he starts to sing softly. -RRB- `` Get me to the church on time.'' Peter moves toward James, putting the gun to his uncle's head. PETER -LRB- barely able to stand it. -RRB- You fucking bastard. FATHER JAMES Do n't you get it? -LRB- re : Maya. -RRB- They had their 2,000 years. Now it's our turn. PETER So all that bullshit about God and faith. FATHER JAMES It was perfect. The harder I pushed, the more you pulled away. PETER -LRB- beyond anger, beyond tears. -RRB- You lied to me my whole life. Everything you said, everything you did. FATHER JAMES Everything I did, I did for you. I love you, Peter. Think of it. I'm giving you a gift, absolute power and knowledge. PETER You raised me, like a son. FATHER JAMES You are my son. Do n't you see the opportunity that lies before you? PETER -LRB- putting it together. -RRB- You killed my parents. FATHER JAMES I had to. There was no other way. Their deaths were part of the greatest legacy I could have given you. Peter moves the muzzle of the gun into James' carotid artery. CLOSE ON MAYA The realization floods her. MAYA Do n't! That's what they want. FATHER JAMES It will be my ultimate sacrifice! MAYA If you commit murder, you accept evil. One by one, people in the congregation begin to rise. Peter ca n't believe what he sees. Susan and Mrs. Quintana. Stunned, Peter lets the gun lower a moment and then, as he turns back to Maya, he's too late. James has moved behind Maya, holding a long - bladed knife at her throat. James anchors it at her neck, forming a shimmering upside down Cross, Runic symbols carved into the Sterling handle. Peter pivots, pulling up the gun again, aiming it back at James. PETER Drop the knife. He cocks the gun. FATHER JAMES She's going to die right in front of you. Peter looks at Maya. Her expression gives him the permission to do the unthinkable. MAYA -LRB- softly. -RRB- Let him kill me. Peter's thrown off. Maya lets her eyes blink closed. For a moment, no one moves. The knife glints off the stained glass. CLOSE ON Peter. Thinking. Unraveling. FATHER JAMES -LRB- big smile. -RRB- You have no idea how much you look like your mother right now. Peter FIRES, an ECHOING REPORT, bouncing from the Cathedral ceiling to the Travertine floor. Father James falls, mortally wounded. WILLIAM And you thought I was the family fuck up. Peter sees William approaching from the pews. WILLIAM -LRB- CONT'D. -RRB- Thank you, Maya. You served us well. Stunned, Peter gulps a mouthful of air, lifts his gun and shoots William in the eye. Immediate. The bullet powers through William, lodging in Mrs. Quintana. She COUGHS up a GURGLING choke, eyes wide. And as she dies gripping her neck, she doubles over the back of a wooden pew. The crowd reacts. Maya grabs hold of Peter edging him back toward the vestry and out of the church. As the Congregation starts to press forward, Peter swings the gun back up and out toward them. It glistens off the Chalices. They stop, wary and as Maya and Peter finally turn their backs on the crowd, they take off past the sacred Eurcharistic relics.", "INT. VESTRY/SAINT BENEDICTUS Through the vestry and out the back door.", "EXT. STREET - DUSK Peter and Maya sprint for the Rover.", "INT. RANGE ROVER Peter and Maya speed up the street. They turn the corner and continue up a street undergoing construction. Fenced by sawhorse barricades, it's equipped with flashing warning lights. PETER How much time do we have? MAYA Not a lot. Peter races past the barricades, side - swiping the steel sawhorses, then suddenly he slams on the brakes, skidding to a rough stop, nowhere to go.", "INT. RANGE ROVER Peter looks at Maya, then at the gun in his lap and back at her. Conflicted emotions. He picks up the revolver. Maya stares at Peter. A huge fear rips through her body. Peter hesitates. Then hands her the gun. PETER If you can do it. go ahead. Maya puts the gun down. Leans over and embraces him. They hold onto each other. A shared intimacy, unknown to either of them. MAYA -LRB- a desperate whisper. -RRB- I'm not strong enough for this. Peter reaches over and tenderly brushes the hair away from Maya's face. Then Maya pulls away, raising the tiny gun and TIME slows to a crawl. Maya holds the Beretta. The strain etched on her face, her hands shake, her eyes well up. Peter waits, watching her. She's unsure. We HEAR a choked back breath. Gasping, lungs looking for air. The struggle for life. The car clock seems frozen on 4:54. Finally, it turns over and. Nothing happens. Peter's looking at her. He knows. He's sure of it. PETER It did n't work! Maya, I'm okay. Peter reaches for her, his face radiant, joyful, alive. She does n't move a muscle. The gun barrel does n't quiver. MAYA Oh, Peter. PETER -LRB- changed tone. -RRB- It's me. Put the gun down. Maya. Tears roll down her face, as she cocks the Beretta. PETER -LRB- CONT'D. -RRB- If you really think I'm the Devil, then shoot me. Out of the corner of her eye, Maya sees the clock - its hands rapidly spin backward.", "EXT. RANGE ROVER A HIGH ANGLE of the car from above. A SHOT RIPS through the air. Then one more. Maya exits the car. She's unsteady on her feet. The camera pans up into the night sky. SILENCE. Followed by a low - pitched, disturbing rumble. A kind of GROTESQUE GROAN. Then some HUM is heard. Static. A not quite - tuned in radio station becomes audible. DEEJAY -LRB- V.O. -RRB- I love this, now scientists are saying the days have suddenly stopped getting shorter. It makes you wonder. Do these guys know anything? The station fades out. There's a FRAGMENT of POP MUSIC, more STATIC, then the RADIO'S SNAPPED OFF. And we hear the sound of breathing, light and steady.", "EXT. RURAL ROAD - DAY An aerial shot of a steel blue car as it cruises down a two lane highway. Passing fields of cotton.", "INT. BLUE CAR - DAY Inside the car, Maya is driving. Windows down. She looks serene, at peace, carrying her wound well as we : FADE OUT.", "INT. RANGE ROVER Maya aims at Peter's head and pulls the trigger. Peter's thrown back against the seat. She fires again into his heart. Maya lets the gun down slowly. Tears streak her cheeks, as she cups his face in her hands. SILENCE Followed by a LOW - PITCHED, DISTURBING RUMBLE, a kind of GROTESQUE GROAN. Then some HUM is heard. STATIC. A not quite - tuned - in radio station becomes audible. DEEJAY -LRB- V.O. -RRB- I love this, now scientists are saying the days have suddenly stopped getting shorter. It makes you wonder. Do these guys know anything? The station fades out. There's a FRAGMENT of POP MUSIC, more STATIC, then the RADIO'S SNAPPED OFF. And we hear the sound of breathing, light and steady. FADE OUT." ]

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[ "EXT. GALAXY - PLANET HOTH A Star Destroyer moves through space, releasing Imperial probe robots from its underside. One of these probes zooms toward the planet Hoth and lands on its ice - covered surface. An explosion marks the point of impact.", "EXT. HOTH - METEORITE CRATER - SNOW PLAIN - DAY A weird mechanical sound rises above the whining of the wind. A strange probe robot, with several extended sensors, emerges from the smoke - shrouded crater. The ominous mechanical probe floats across the snow plain and disappears into the distance.", "EXT. PLAIN OF HOTH - DAY A small figure gallops across the windswept ice slope. The bundled rider is mounted on a large gray snow lizard, a Tauntaun. Curving plumes of snow rise from beneath the speeding paws of the two - legged beast. The rider gallops up a slope and reins his lizard to a stop. Pulling off his protective goggles, Luke Skywalker notices something in the sky. He takes a pair of electrobinoculars from his utility belt and through them sees smoke rising from where the probe robot has crashed. The wind whips at Luke's fur - lined cap and he activates a comlink transmitter. His Tauntaun shifts and moans nervously beneath him. LUKE -LRB- into comlink. -RRB- Echo Three to Echo Seven. Han, old buddy, do you read me? After a little static a familiar voice is heard. HAN -LRB- over comlink. -RRB- Loud and clear, kid. What's up? LUKE -LRB- into comlink. -RRB- Well, I finished my circle. I do n't pick up any life readings. HAN -LRB- over comlink. -RRB- There is n't enough life on this ice cube to fill a space cruiser. The sensors are placed, I'm going back. LUKE -LRB- into comlink. -RRB- Right. I'll see you shortly. There's a meteorite that hit the ground near here. I want to check it out. It wo n't take long. Luke clicks off his transmitter and reins back on his nervous lizard. He pats the beast on the head to calm it. LUKE Hey, steady girl. What's the matter? You smell something? Luke takes a small device from his belt and starts to adjust it when suddenly a large shadow falls over him from behind. He hears a monstrous howl and turns to see an eleven - foot - tall shape towering over him. It is a Wampa Ice Creature, lunging at him ferociously. LUKE Aaargh! Luke grabs for his pistol, but is hit flat in the face by a huge white claw. He falls unconscious into the snow and in a moment the terrified screams of the Tauntaun are cut short by the horrible snap of a neck being broken. The Wampa Ice Creature grabs Luke by one ankle and drags him away across the frozen plain.", "EXT. HOTH - REBEL BASE ENTRANCE - DAY A stalwart figure rides his Tauntaun up to the entrance of an enormous ice cave.", "INT. HOTH - REBEL BASE - MAIN HANGAR DECK Rebel troopers rush about unloading supplies and otherwise securing their new base. The rider, Han Solo, swings off his lizard and pulls off his goggles. He walks into the main hangar deck toward the Millennium Falcon, which is parked among several fighters. Mechanics, R2 units, and various other droids hurry about. Han stops at the Millennium Falcon where his Wookiee copilot, Chewbacca, is welding on a central lifter. Chewie stops his work and lifts his face shield, growling an irritated greeting to his boss. HAN Chewie! The Wookiee grumbles a reply. HAN All right, do n't lose your temper. I'll come right back and give you a hand. Chewbacca puts his mask back on and returns to his welding as Han leaves.", "INT. HOTH - REBEL BASE - COMMAND CENTER A makeshift command center has been set up in a blasted area of thick ice. The low - ceilinged room is a beehive of activity. Controllers, troops, and droids move about setting up electronic equipment and monitoring radar signals. General Rieekan straightens up from a console at Han's approach. RIEEKAN Solo? HAN No sign of life out there, General. The sensors are in place. You'll know if anything comes around. RIEEKAN Commander Skywalker reported in yet? HAN No. He's checking out a meteorite that hit near him. RIEEKAN -LRB- indicates radar screen. -RRB- With all the meteor activity in this system, it's going to be difficult to spot approaching ships. Taking a deep breath, Han blurts out what is on his mind. HAN General, I've got to leave. I ca n't stay anymore. Princess Leia, standing at a console nearby, is dressed in a short white combat jacket and pants. Her hair is braided across her head in a Nordic fashion. She overhears their conversation and seems somewhat distressed. RIEEKAN I'm sorry to hear that. HAN Well, there's a price on my head. If I do n't pay off Jabba the Hut, I'm a dead man. RIEEKAN A death mark's not an easy thing to live with. You're a good fighter, Solo. I hate to lose you. HAN Thank you, General. He turns to Leia as Rieekan moves away. HAN -LRB- with feeling. -RRB- Well, Your Highness, I guess this is it. LEIA That's right. Leia is angry. Han sees she has no warmth to offer him. He shakes his head and adopts a sarcastic tone. HAN -LRB- cooly. -RRB- Well, do n't get all mushy on me. So long, Princess. Han walks away into the quiet corridor adjoining the command center. Leia stews a moment, then hurries after him.", "INT. HOTH - REBEL BASE - ICE CORRIDOR LEIA Han! Han stops in the corridor and turns to face Leia. HAN Yes, Your Highnessness? LEIA I thought you decided to stay. HAN Well, the bounty hunter we ran into on Ord Mantell changed my mind. LEIA Han, we need you! HAN We? LEIA Yes. HAN Oh, what about you need? LEIA -LRB- mystified. -RRB- I need? I do n't know what you're talking about. HAN -LRB- shakes his head, fed up. -RRB- You probably do n't. LEIA And what precisely am I supposed to know? HAN Come on! You want me to stay because of the way you feel about me. LEIA Yes. You're a great help to us. You're a natural leader. HAN No! That's not it. Come on. Aahhh - uh huh! Come on. Leia stares at him, understanding, then laughs. LEIA You're imagining things. HAN Am I? Then why are you following me? Afraid I was going to leave without giving you a goodbye kiss? LEIA I'd just as soon kiss a Wookiee. HAN I can arrange that. You could use a good kiss! Angrily, Han strides down the corridor as Leia stares after him.", "INT. HOTH - REBEL BASE - ANOTHER ICE CORRIDOR A familiar stream of beeps and whistles herald the approach of Artoo - Detoo and See - Threepio, who appear around a corner and move along an ice wall toward the main hangar. THREEPIO Do n't try to blame me. I did n't ask you to turn on the thermal heater. I merely commented that it was freezing in the princess' chamber. But it's supposed to be freezing. How are we going to dry out all her clothes? I really do n't know. Artoo beeps a stream of protesting whistles. THREEPIO Oh, switch off.", "INT. HOTH - REBEL BASE - MAIN HANGAR DECK The two robots stop at Han Solo's space freighter. Han and Chewie are struggling with their central lifters. HAN -LRB- to Chewie. -RRB- Why do you take this apart now? I'm trying to get us out of here and you pull both of these. Chewie grumbles in irritation. THREEPIO Excuse me, sir. HAN -LRB- to Chewie. -RRB- Put them back together right now. THREEPIO Might I have a word with you, please? HAN What do you want? THREEPIO Well, it's Princess Leia, sir. She's been trying to get you on the communicator. HAN I turned it off. I do n't want to talk to her. THREEPIO Oh. Well, Princess Leia is wondering about Master Luke. He has n't come back yet. She does n't know where he is. HAN I do n't know where he is. THREEPIO Nobody knows where he is. HAN What do you mean, `` nobody knows''? Han glances at the fading light at the entrance of the ice cave as night slowly begins to fall on the planet. THREEPIO Well, uh, you see. Han jumps down off the lift, as Threepio follows him. HAN Deck Officer. Deck Officer! THREEPIO Excuse me, sir. Might I inqu. Han abruptly puts his hand over Threepio's mouth as the deck officer approaches. DECK OFFICER Yes, sir? HAN Do you know where Commander Skywalker is? DECK OFFICER I have n't seen him. It's possible he came in through the south entrance. HAN It's possible? Why do n't you go find out? It's getting dark out there. DECK OFFICER Yes, sir. The deck officer leaves hurriedly, as Han takes his hand off Threepio's mouth. THREEPIO Excuse me, sir. Might I inquire what's going on? HAN Why not? THREEPIO Impossible man. Come along, Artoo, let's find Princess Leia. Between ourselves, I think Master Luke is in considerable danger.", "INT. HOTH - REBEL BASE - MAIN ICE TUNNEL The deck officer and his assistant hurry toward Han as he enters the tunnel. DECK OFFICER Sir, Commander Skywalker has n't come in through the south entrance. He might have forgotten to check in. HAN Not likely. Are the speeders ready? DECK OFFICER Not yet. We're having some trouble adapting them to the cold. HAN Then we'll have to go out on Tauntauns. DECK OFFICER Sir, the temperature's dropping too rapidly. HAN That's right. And my friends out in it. ASSISTANT OFFICER I'll cover sector twelve. Have com - control set screen alpha. Han pushes through the troops and mounts a Tauntaun. DECK OFFICER Your Tauntaun'll freeze before you reach the first marker. HAN Then I'll see you in hell! Han maneuvers his mount out of the cave and races into the dark bitter night.", "EXT. HOTH - ICE GORGE - DUSK The jagged face of a huge ice wall sits gloomily in the dim twilight of a Hoth day. Luke hangs upside down, ankles frozen into icy stalactites, his extended arms within a foot of the snow floor. One side of his face is covered in a dried mask of frozen blood. He opens his eyes as a chilling moan of the hideous ice creature echoes off the gorge walls. Luke pulls himself up, grabs hold of his ankles, and futilely tries to unfasten the throngs. Exhausted, he drops back into his hanging position. As he hangs there, he spies his lightsaber lying near a pile of his discarded gear, about three feet out of reach. He focuses on the saber and, as his hand strains toward the weapon, he squeezes his eyes tight in concentration. Just as the ice creature looms over Luke, the lightsaber jumps into Luke's hand. The young warrior instantly ignites his sword, swinging up, and cuts himself loose from the ice. He flops to the snow in a heap. The startled creature moves back, his giant yellow eyes blinking. Luke scrambles to his feet. He swings his lightsaber and the beast screams in pain.", "EXT. HOTH - ENTRANCE TO ICE GORGE - DUSK Luke staggers out of the gorge into the dark and snowy twilight. Weak and exhausted, he stumbles down a snow bank.", "EXT. HOTH - SNOW PLAIN - DUSK A small, lone figure riding a Tauntaun races through the hostile vastness of snow and cold. As it runs, the Tauntaun's legs kick up large clouds of snow and ice into the snowy air.", "EXT. HOTH - OUTSIDE ICE HANGAR - DUSK Artoo stands in the falling snow, beeping worriedly. Threepio moves stiffly over to him. THREEPIO You must come along now, Artoo. There's really nothing more we can do. And my joints are freezing up. Artoo beeps, long and low. THREEPIO Do n't say thing like that! Of course we'll see Master Luke again. He'll be quite all right, you'll see. -LRB- to himself. -RRB- Stupid little short - circuit. He'll be quite all right. Threepio turns to go back inside the main hangar as Artoo mournfully keeps his vigil.", "EXT. HOTH - SNOW DRIFT - DUSK The wind is blowing quite strong now. Luke struggles to stay upright, but a blast of freezing snow knocks him over. He struggles to get up, but he ca n't. The young warrior from Tatooine drags himself a couple of feet and then collapses.", "INT. REBEL BASE - MAIN HANGAR DECK - ENTRANCE - NIGHT Princess Leia stands inside the dark entrance to the Rebel base, waiting for a sign of the two Rebel heroes. She shivers in the cold wind as, nearby, Chewie sits with his head in his hands. In the background, Artoo and Threepio move through the doors. A Rebel lieutenant moves to Major Derlin, an officer keeping watch with the princess. LIEUTENANT Sir, all the patrols are in. There's still no contact from Skywalker or Solo. THREEPIO Mistress Leia, Artoo says he's been quite unable to pick up any signals, although he does admit that his own range is far too weak to abandon all hope. Leia nods an acknowledgment, but she is lost in thought. DERLIN Your Highness, there's nothing more we can do tonight. The shield doors must be closed. He turns to the lieutenant. DERLIN Close the doors. LIEUTENANT Yes, sir. The lieutenant walks away. Chewie lets out a long, mournful howl, somewhat like a coyote. At the same moment, Artoo begins a complex series of efficient beeps. THREEPIO Artoo says the chances of survival are seven hundred seventy - five. to one. Leia stands praying to herself as the huge metal doors slam across the entrance of the ice cave. The loud booms echo throughout the huge cavern. Chewie lets out another suffering howl. THREEPIO Actually, Artoo has been known to make mistakes. from time to time. Oh, dear, oh, dear. Do n't worry about Master Luke. I'm sure he'll be all right. He's quite clever, you know. for a human being.", "EXT. HOTH - SNOW DRIFT - DUSK Luke lies face down in the snow, nearly unconscious. Slowly he looks up and sees Ben Kenobi, barely visible through the blowing snow. It is hard to tell if Kenobi is real or a hallucination. BEN Luke. Luke. LUKE -LRB- weakly. -RRB- Ben? BEN You will go to the Dagobah system. LUKE Dagobah system? BEN There you will learn from Yoda, the Jedi Master who instructed me. The image of Ben fades, revealing a lone Tauntaun rider approaching from the windswept horizon. LUKE -LRB- groaning faintly. -RRB- Ben. Ben. Luke drops into unconsciousness. Han pulls up and leaps off his mount. He hurries to his snow - covered friend, cradling him in his arms. Han's Tauntaun lets out a low, pitiful bellow. But Han's concern is with Luke, and he shakes him urgently. HAN Luke! Luke! Do n't do this, Luke. Come on, give me a sign here. Luke does n't respond. Han begins frantically rubbing and slapping Luke's unconscious face. As he starts to lift the youth, Han hears a rasping sound behind him. He turns, just in time to see his Tauntaun stagger and then fall over into the snow. Han carries Luke to the moaning beast. Then, with a final groan, the Tauntaun expires. HAN Not much time. He pushes Luke's inert form against the belly of the dead beast. LUKE -LRB- moaning. -RRB- Ben. Ben. HAN Hang on, kid. LUKE Dagobah system. Han ignites Luke's saber and cuts the beast from head to toe. He quickly tosses it's steaming innards into the snow, then lifts Luke's inert form and stuffs him inside the carcass. HAN -LRB- reeling from the odor. -RRB- Whew. LUKE Dagobah. HAN This may smell bad, kid. LUKE -LRB- moaning. -RRB- Yoda. HAN but it will keep you warm. til I get the shelter built. -LRB- struggling to get Luke inside the carcass. -RRB- Ooh. I thought they smelled bad on the outside! The wind has picked up considerably, making it difficult to move. Han removes a pack from the dead creature's back, taking out a shelter container. He begins to set up what can only be a pitiful protection against a bitter Hoth night.", "EXT. HOTH - SNOWDRIFT - DAWN Four snub - nosed armored snowspeeders race across the white landscape.", "INT. SNOWSPEEDER COCKPIT There is only one pilot, Zev, in the enclosed two - man craft. He concentrates on the scopes which ring his cockpit. He hears a low beep from one of his monitors. ZEV -LRB- into transmitter. -RRB- Echo Base. I've got something! Not much, but it could be a life form.", "EXT. HOTH - SNOWDRIFT The small craft banks and makes a slow arc, then races off in a new direction.", "INT. SNOWSPEEDER - COCKPIT The pilot switches over to a new transmitter. ZEV -LRB- into transmitter. -RRB- This is Rogue Two. this is Rogue Two. Captain Solo, so you copy? Commander Skywalker, do you copy? This is Rogue Two. There is a sharp crackle of static, then a faint voice. HAN -LRB- filtered over Zev's receiver. -RRB- Good morning. Nice of you guys to drop by. ZEV -LRB- switching transmitters. -RRB- Echo Base. this is Rogue Two. I found them. Repeat, I found them.", "EXT. HOTH - SNOWDRIFT - DAY The small shelter Han set up is covered with snow on the windward side. A makeshift antenna rests gingerly on top the snowdrift. Han spots Zev's snowspeeder approaching in the distance, and begins waving his arms frantically at the tiny craft.", "INT. REBEL BASE - MEDICAL CENTER Strange robot surgeons adjust a mass of electronic equipment. A switch is thrown and a sudden blinding flash obscures Luke in a bacta tank filled with a thick, gelatinous slime. He begins to thrash about, raving in delirium.", "INT. REBEL BASE - MEDICAL CENTER - RECOVERY ROOM Luke sits up in a recovery - room bed, weak but smiling. His face shows terrible wounds from the Wampa's attack. Threepio and Artoo enter the room. THREEPIO Master Luke, sir, it's so good to see you fully functional again. Artoo beeps his good wishes. THREEPIO Artoo expresses his relief, also. Han and Chewie make their entrance. The Wookiee growls a greeting. HAN How are you feeling, kid? You do n't look so bad to me. In fact, you look strong enough to pull the ears off a Gundark. LUKE Thanks to you. HAN That's two you owe me, junior. Han turns as Leia enters the room. He looks at her with a big, devilish grin. HAN Well your Worship, looks like you managed to keep me around for a little while longer. LEIA -LRB- haughtily. -RRB- I had nothing to do with it. General Rieekan thinks it's dangerous for any ships to leave the system until we've activated the energy shield. HAN That's a good story. I think you just ca n't bear to let a gorgeous guy like me out of your sight. LEIA I do n't know where you get your delusions, laser brain. Chewie is amused ; he laughs in his manner. Han, enjoying himself, regards Chewie good - humoredly. HAN Laugh it up, fuzzball. But you did n't see us alone in the south passage. Luke sparks to this ; he looks at Leia. HAN She expressed her true feelings for me. Leia is flushed, eyes darting between Luke and Han. LEIA My! Why, you stuck up,. half - witted. scruffy - looking. nerf - herder! HAN Who's scruffy - looking? -LRB- to Luke. -RRB- I must have hit pretty close to the mark to get her all riled up like that, huh, kid? Leia looks vulnerable for a moment, then the mask falls again, and she focuses on Luke. LEIA Why, I guess you do n't know everything about women yet? With that she leans over and kisses Luke on the lips. Then she turns on her heel and walks out, leaving everyone in the room slightly dumbstruck. With some smugness, Luke puts his hands behind his head and grins. Suddenly, in the distance, the muffled sound of an alarm is heard. ANNOUNCER -LRB- over loudspeaker. -RRB- Headquarters personnel, report to command center. The voice repeats the order and Han, Chewie, Artoo, and Threepio hurry out of the room, bidding farewell to Luke. HAN Take it easy. THREEPIO Excuse us, please.", "INT. HOTH - REBEL BASE - COMMAND CENTER Rieekan looks up grimly from a console screen. He calls over to Leia and Han. RIEEKAN Princess. we have a visitor. The group hurries over to Rieekan. RIEEKAN We've picked up something outside the base in zone twelve, moving east. SENIOR CONTROLLER It's metal. LEIA Then it could n't be one of those creatures that attacked Luke. HAN It could be a speeder, one of ours. SENIOR CONTROLLER No. Wait - there's something very weak coming through. Threepio steps up to the control panel and listens intently to the strange signal. THREEPIO Sir, I am fluent in six million forms of communication. This signal is not used by the Alliance. It could be an Imperial code. The transmission ends in static. HAN It is n't friendly, whatever it is. Come on, Chewie, let's check it out. RIEEKAN Send Rogues Ten and Eleven to station three - eight.", "EXT. HOTH - SNOW PLAIN - DAY The dark probe robot moves past the smoldering ruins of station three - eight and down a ridge toward the Rebel base. It raises a large antenna from the top of its head and begins to send out a piercing signal. The probe droid has spotted Chewbacca who, not thirty feet away, has popped his head over a snow bank. Instantly, the probe robot swings around, its deadly ray ready to fire. But before it can get a shot off, it is hit from behind by a laser bolt, and explodes in a million pieces. Han Solo replaces his blaster in its holster and peers intently at the smoldering remains of the Imperial probe.", "INT. HOTH - REBEL BASE - COMMAND CENTER Leia and Rieekan listen to Han on the comlink. HAN -LRB- over comlink. -RRB- Afraid there's not much left. LEIA -LRB- into comlink. -RRB- What was it? HAN -LRB- over comlink. -RRB- Droid of some kind. I did n't hit it that hard. It must have had a self - destruct. LEIA -LRB- into comlink. -RRB- An Imperial probe droid. HAN -LRB- over comlink. -RRB- It's a good bet the Empire knows we're here. RIEEKAN We'd better start the evacuation.", "EXT. SPACE - IMPERIAL FLEET Darth Vader's Star Destroyer, larger and more awesome than the five Imperial Star Destroyers that surround it, sits in the vastness of space. The six huge ships are surrounded by a convoy of smaller spacecraft. TIE fighters dart to and fro.", "INT. DARTH VADER'S STAR DESTROYER - BRIDGE - MAIN CONTROL DECK Controllers working the vast complex of electronic controls hear ominous approaching footsteps and look up from their controls. The squat, evil - looking Admiral Ozzel and the young, powerfully built General Veers, who have been conferring near the front, also feel the approaching presence and turn toward it. Darth Vader, Lord of the Sith, enters like a chill wind. As Vader moves across the wide bridge, Captain Piett hurries up to Ozzel. PIETT Admiral. OZZEL Yes, Captain PIETT I think we've got something, sir. The report is only a fragment from a probe droid in the Hoth system, but it's the best lead we've had. OZZEL -LRB- irritated. -RRB- We have thousands of probe droids searching the galaxy. I want proof, not leads! PIETT The visuals indicate life readings. OZZEL It could mean anything. If we followed every lead. PIETT But, sir, the Hoth system is supposed to be devoid of human forms. Vader moves to a large screen showing an image of the Rebel snow base. Rebel speeders can be seen approaching the base in the distance. VADER You found something? PIETT Yes, my lord. VADER -LRB- studying the image on the console screen. -RRB- That's it. The Rebels are there. OZZEL My lord, there are so many uncharted settlements. It could be smugglers, it could be. VADER That is the system. And I'm sure Skywalker is with them. Set your course for the Hoth system. General Veers, prepare you men.", "INT. HOTH - REBEL BASE - TRANSPORT BAY A captain issues instructions to two of his men at the entrance to the main transport bay. Several Rebel transports behind them are being loaded by men carrying heavy boxes and moving quickly, but not in panic. REBEL CAPTAIN Groups seven and ten will stay behind to fly the speeders. As soon as each transport is loaded, evacuation control will give clearance for immediate launch. REBEL FIGHTER Right, sir.", "INT. HOTH - REBEL BASE - MAIN HANGAR DECK Alarms sound. Troops, ground crews, and droids rush to their alert stations. Armored snowspeeders are lined up in attack formation near the main entrance. In the midst of all this activity, Han does some frantic welding on the lifters of the Millennium Falcon. Han finishes his work and hops down to the hangar floor. He pulls out his comlink, all the while eyeing problematic lifters. HAN -LRB- into comlink, to Chewie. -RRB- Okay, that's it. Try it. Off! Turn it off! Turn it off! Off! Smoke rises from a minor explosion on the lifter. Exasperated, Han surveys the new damage.", "INT. REBEL BASE - MEDICAL CENTER Luke dresses in readiness for the evacuation as his attending medical droid stands by. MEDICAL DROID Sir, it will take quite a while to evacuate the T - forty - sevens. LUKE Well, forget the heavy equipment. There's plenty of time to get the smaller modules on the transports. MEDICAL DROID Take care, sir. LUKE Thanks.", "INT. REBEL BASE - MAIN HANGAR DECK Pilots, gunners, and R2 units scurry about. Luke, pulling on his heavy - weather jacket, is headed toward a row of armored speeders. He stops at the rear of the Millennium Falcon, where Han and Chewie are trying to repair the right lifter with even more haste than before. LUKE Chewie, take care of yourself, okay? As Luke pats Chewie on the arm, Chewie puts his arms around Luke and gives him a tight hug. Han is discussing the lifter with a repair droid when he sees Luke. HAN Hi, kid. -LRB- to droid. -RRB- There's got to be a reason for it. Check it at the other end. Wait a second. -LRB- to Luke. -RRB- You all right? LUKE Yeah. HAN Be careful. LUKE You, too. Luke smiles, then waves at his friend and walks on. After a few steps, he stops and looks back. Han glances up and the two exchange a silent communication, each wishing the other safety, happiness - many things, all difficult to verbalize.", "INT. REBEL BASE - CONTROL ROOM. Alarms sound throughout the hidden Rebel base. In the control room, a controller urgently gestures for General Rieekan to check a computer scan. CONTROLLER General, there's a fleet of Star Destroyers coming out of hyperspace in sector four. RIEEKAN Reroute all power to the energy shield. We've got to hold them till all transports are away. Prepare for ground assault. Rieekan exits hurriedly.", "INT. VADER'S STAR DESTROYER - VADER'S CHAMBER - MEDITATION CUBICLE The dark cubicle is illuminated by a single shaft of light which falls on the brooding Dark Lord as he sits on a raised meditation cube. General Veers enters the room and approaches the silent, unmoving Vader. Although seemingly very sure of himself, Veers is still not bold enough to interrupt the meditating lord. The younger general stands quietly at attention until the evil presence speaks. VADER What is it, General? VEERS My lord, the fleet has moves out of light - speed. Com - Scan has detected an energy field protecting an area around the sixth planet of the Hoth system. The field is strong enough to deflect any bombardment. VADER -LRB- angrily. -RRB- The Rebels are alerted to our presence. Admiral Ozzel came out of light - speed too close to the system. VEERS He felt surprise was wiser. VADER He is as clumsy as he is stupid. General, prepare your troops for a surface attack. VEERS Yes, my lord. Veers turns smartly and leaves as Vader activates a large viewscreen showing the bridge of his mighty ship. Admiral Ozzel appears on the viewscreen, standing slightly in front of Captain Piett. OZZEL Lord Vader, the fleet has moved out of light - speed, and we're preparing to. Aaagh! VADER You have failed me for the last time, Admiral. Captain Piett. Piett steps forward, as the admiral moves away, slightly confused, touching his throat as it begins to constrict painfully. PIETT Yes, my lord. VADER Make ready to land out troops beyond the energy shield and deploy the fleet so that nothing gets off that system. You are in command now, Admiral Piett. PIETT Thank you, Lord Vader. Piett's pleasure about his unexpected promotion is not an unmixed emotion. He glances warily at the struggling Admiral Ozzel who, with a final choke, stumbles and falls in a lifeless heap before him.", "INT. REBEL BASE - MAIN HANGAR DECK With a sense of urgency, Leia quickly briefs a group of pilots gathered in the center of the hangar. LEIA All troop carriers will assemble at the north entrance. The heavy transport ships will leave as soon as they're loaded. Only two fighter escorts per ship. The energy shield can only be opened for a short time, so you'll have to stay very close to your transports. HOBBIE Two fighters against a Star Destroyer? LEIA The ion cannon will fire several shots to make sure that any enemy ships will be out of your flight path. When you've gotten past the energy shield, proceed directly to the rendezvous point. Understood? PILOTS -LRB- in unison. -RRB- Right. Okay. LEIA Good luck. DERLIN Okay. Everyone to your stations. Let's go! The pilots hurry away.", "EXT. HOTH - ICE PLAIN - SNOW TRENCH - DAY Rebel troops carry heavy bazooka - type weapons and position them along the snow trench. Men hurriedly respond to their officers' yelled orders and brace themselves against the rhythmic gusts of bitter - cold wind. Other troops load power packs into a gun turret and swing its guns into position.", "EXT. HOTH - ICE PLAIN - POWER GENERATORS Near the base power generators, troops rush to set up their heavy battle equipment. Buzzing loudly, the generators send along, sparking fingers of energy into the bitter Hoth wind.", "INT. REBEL BASE - COMMAND CENTER The long line of Rebel controllers is tense, as are Princess Leia and General Rieekan, who are trying very hard not to show any fear. RIEEKAN Their primary target will be the power generators. Prepare to open the shield.", "EXT. ICE PLAIN The Rebel transport and two escort fighters begin their departure from the ice planet.", "EXT. SPACE - IMPERIAL STAR DESTROYER A huge Imperial Star Destroyer rest against a sea of stars, far above the white surface of the planet Hoth.", "INT. IMPERIAL STAR DESTROYER - BRIDGE An Imperial controller approaches his commander. CONTROLLER Sir, Rebel ships are coming into our sector. CAPTAIN Good. Our first catch of the day.", "INT. REBEL BASE - COMMAND CENTER WOMAN CONTROLLER Stand by, ion control. Fire!", "EXT. REBEL BASE ICE CAVE - ION CANNON The giant ball - shaped ion cannon rotates into position and blasts two red energy beams skyward.", "EXT. SPACE - HOTH - REBEL TRANSPORT The Rebel transport and its escort race away from the white planet, closely followed by the two red energy beams. As the Rebel transport races toward the waiting Imperial Star Destroyer, it is overtaken by the two scarlet energy bolts. The Imperial Star Destroyer is hit in the conning tower by the powerful bolts, which set up fiery explosions on its metal hull. The big Star Destroyer veers, then spins wildly out of control. As the Imperial ship careers into deep space, the Rebel transport races away to safety.", "INT. REBEL BASE - MAIN HANGAR DECK Pilots, gunners, and troopers hurry to their stations and their vehicles. ANNOUNCER -LRB- over loudspeaker. -RRB- The first transport is away. Everyone cheers at the announcement, which echoes through the hangar. Luke turns and walks on, heading toward his snowspeeder. His gunner, Dack, a fresh - faced, eager kid, is glad to see him. They climb in. DACK Feeling all right, sir? LUKE Just like new, Dack. How about you? DACK Right now I feel like I could take on the whole Empire myself. LUKE -LRB- quietly, strapping in. -RRB- I know what you mean.", "EXT. HOTH - ICE PLAIN A thin horizon line cuts across the bleak landscape. Small dot - size objects begin to appear on the horizon, moving in the direction of the Rebel base.", "EXT. HOTH - ICE PLAIN - SNOW TRENCH A Rebel officer lifts a pair of electrobinoculars to his eyes. Through the lens he sees a very close view of a giant Imperial snow walker. He adjusts the view which then zooms back to reveal three more of the ominous battle machines. Small flashes of yellow fire billow from the guns of the lumbering snow walkers. The officer lowers his binoculars as the regular rhythmic pounding begins to make the ground vibrate. The pounding grows louder and is accompanied by a high - pitched, metallic rattling. The officer speaks into his comlink. TRENCH OFFICER Echo Station Three - T - Eight.", "INT. REBEL BASE - CORRIDOR Pilots and gunners race to their waiting snowspeeders. Ice and snow begin falling from the walls of the corridor, shaken by the pounding Imperial snow walker as they draw ever nearer. TRENCH OFFICER -LRB- over comlink. -RRB- We have spotted Imperial walkers! CONTROLLER Imperial walkers on the north ridge.", "EXT. HOTH - ICE PLAIN - SNOW TRENCH The Rebel troops aim their weapons at the horizon as explosions erupt all around them. They are nervous and their grip on their weapons tightens from the cold and from fear. Behind the troops a dozen snowspeeders race through the sky.", "INT. LUKE'S SNOWSPEEDER, ROGUE LEADER - COCKPIT LUKE -LRB- into comlink. -RRB- Echo station Five - Seven. We're on our way.", "EXT. HOTH - ICE PLAIN - BATTLEFIELD The fleet of snowspeeders races above the ice field at full throttle. They accelerate away from the base and head toward the distant walkers.", "INT. LUKE'S SNOWSPEEDER, ROGUE LEADER - COCKPIT LUKE -LRB- into comlink. -RRB- All right, boys, keep tight now. DACK Luke, I have no approach vector. I'm not set. LUKE Steady, Dack. Attack pattern delta. Go now!", "EXT. HOTH - ICE PLAIN - BATTLEFIELD The cannons mounted on the walker head fire at the speeders. Other walkers loom in the background. Two speeders race away past two of the enormous walkers and bank to the right.", "INT. LUKE'S SNOWSPEEDER, ROGUE LEADER - COCKPIT LUKE All right, I'm coming in. He turns his speeder and heads directly at one of the walkers, flying toward its towering legs. The horizon twists as the speeder banks between the legs. LUKE -LRB- into comlink. -RRB- Hobbie, you still with me?", "EXT. HOTH - ICE PLAIN - BATTLEFIELD Two speeders race directly at the head of a walker, then split and fly past it. Three other walkers march onward, firing all cannons.", "EXT. HOTH - ICE PLAIN - SNOWTRENCH Rebel troops fire on the approaching walkers, as the snow and ice explode all around them.", "EXT. HOTH - ICE PLAIN - BATTLEFIELD A speeder banks through and away from the legs of a walker. Two other speeders pass the first speeder from the opposite direction. Other Rebel craft race just above the icy plain. A giant walker head swivels and fires, striking a snowspeeder and sending it crashing in a ball of flames.", "INT. IMPERIAL SNOW WALKER - COCKPIT General Veers and two walker pilots keep a careful eye on the racing Rebel snowspeeders as they maneuver their lumbering war machine forward. Luke's speeder banks in from the side of Veers's walker and heads straight for its viewport, blasting away. An explosion hits the walker window, but dissipates, doing no harm. The speeder roars up and over the impregnable war machine.", "INT. LUKE'S SNOWSPEEDER, ROGUE LEADER - COCKPIT Luke looks back at the walker as it grows smaller in the distance. LUKE That armor's too strong for blasters. On the horizon, another walker moves up past Luke's cockpit window, twisting out of sight as Luke banks and starts another run. LUKE -LRB- into comlink. -RRB- Rogue Group, use your harpoons and tow cables. Go for the legs. It might be our only chance of stopping them. -LRB- to Dack. -RRB- All right, stand by, Dack. Dack is at the gunner's controls. DACK Luke, we've got a malfunction in fire control. I'll have to cut in the auxiliary. LUKE Just hang on. Hang on, Dack. Get ready to fire that tow cable. Barely keeping his seat in the tumbling ship, Dack struggles to set up his harpoon gun. Luke swings his speeder around and heads toward an oncoming walker. Laser bolts and flak fill the air, creating a deadly obstacle course for the tiny craft.", "EXT. HOTH - ICE PLAIN - BATTLEFIELD Rogue Leader and another snowspeeder fly in tight formation toward the walker as explosions burst all around them.", "INT. LUKE'S SNOWSPEEDER, ROGUE LEADER - COCKPIT After sustaining a heavy volley of fire, Luke turns around to see if Dack is all right. LUKE Dack? Dack! Dack is lost. Blood streams down his forehead, which rests on his smoldering controls. Out the back window, an Imperial walker recedes in the distance.", "EXT. HOTH - ICE PLAIN - SNOW TRENCH AREA Rebel troops fire the dishlike ray gun while explosions erupt around them.", "EXT. HOTH - ICE PLAIN - BATTLEFIELD Two walkers lumber toward the Rebel base as a speeder between them explodes in a ball of flames.", "EXT. HOTH - ICE PLAIN - SNOW TRENCH The dislike ray gun is hit by a laser bolt and instantly explodes.", "INT. IMPERIAL SNOW WALKER - COCKPIT Through the cockpit window, Veers and his pilot can see the Rebel power generators in the distance. A hologram of Darth Vader appears on a control panel screen. VEERS Yes, Lord Vader. I've reached the main power generator. The shield will be down in moments. You may start your landing.", "INT. LUKE'S SNOWSPEEDER, ROGUE LEADER - COCKPIT LUKE -LRB- into comlink. -RRB- Rogue Three.", "INT. WEDGE'S SNOWSPEEDER, ROGUE THREE - COCKPIT WEDGE -LRB- into comlink. -RRB- Copy, Rogue Leader LUKE -LRB- over comlink. -RRB- Wedge, I've lost my gunner. You'll have to make this shot. I'll cover for you. Set your harpoon. Follow me on the next pass. WEDGE -LRB- into comlink. -RRB- Coming around, Rogue Leader.", "INT. LUKE'S SNOWSPEEDER, ROGUE LEADER - COCKPIT LUKE -LRB- into comlink. -RRB- Steady, Rogue Two", "EXT. HOTH - BATTLEFIELD Wedge's speeder races through the legs of one of the monstrous walkers.", "INT. WEDGE'S SNOWSPEEDER, ROGUE THREE - COCKPIT WEDGE -LRB- to gunner. -RRB- Activate harpoon. Wedge's gunner reaches for a firing switch to activate the harpoon. The harpoon flashes out, and speeds toward the receding legs of the walker.", "EXT. HOTH - BATTLEFIELD The harpoon hurtles toward the walker, In an instant it is embedded in one of the walker's legs.", "INT. WEDGE'S SNOWSPEEDER, ROGUE THREE - COCKPIT WEDGE -LRB- to gunner. -RRB- Good shot, Janson.", "EXT. HOTH - BATTLEFIELD The speeder Rogue Three races around one of the giant walker's feet, trailing the cable behind it. Continuing around the back foot, Rogue Three then circles the walker around the tail end.", "INT. WEDGE'S SNOWSPEEDER, ROGUE THREE - COCKPIT Wedge checks his controls and banks around the front of the walker. WEDGE One more pass. JANSON Coming around. Once more.", "EXT. HOTH - BATTLEFIELD The speeder sweeps left to right in front of the giant legs, towing the cable behind it.", "INT. WEDGE'S SNOWSPEEDER, ROGUE THREE - COCKPIT JANSON Once more. Wedge swings the speeder between the legs of the giant walker. JANSON Cable out! Let her go! WEDGE Detach cable.", "EXT. WEDGE'S SNOWSPEEDER, ROGUE THREE The cable release on the back of the speeder snaps loose and the cable drops away.", "INT. WEDGE'S SNOWSPEEDER, ROGUE THREE - COCKPIT JANSON Cable detached.", "EXT. HOTH - BATTLEFIELD The speeder zooms away into the distance. The tangled legs of the enormous war machine attempt a step, but as they do the giant Imperial walker begins to topple. It teeters for a moment, and then crashes onto the icy ground, sending snow and metal pieces flying.", "EXT. HOTH - ICE PLAIN - SNOW TRENCH The troops in the trenches cheer at the sight of the crashing walker. An officer gives a signal to his men and Rebel troops charge the fallen war machine. TRENCH OFFICER Come on! The troops run toward the downed walker, followed by two Rebel speeders flying overhead. Just as they reach the walker, it explodes, the impact throwing some of the men onto the frozen ground.", "INT. WEDGE'S SNOWSPEEDER, ROGUE THREE - COCKPIT Wedge lets out a triumphant yell, banking his speeder away from the fallen walker. WEDGE -LRB- into comlink. -RRB- Whooha! That got him!", "INT. LUKE'S SNOWSPEEDER, ROGUE LEADER - COCKPIT LUKE -LRB- into comlink. -RRB- I see it, Wedge. Good work.", "INT. REBEL BASE - COMMAND CENTER Large chunks of ice tumble into the command center as Leia and General Rieekan monitor computer screens. RIEEKAN I do n't think we can protect two transports at a time. LEIA It's risky, but we ca n't hold out much longer. We have no choice. RIEEKAN -LRB- into comlink. -RRB- Launch patrols. LEIA -LRB- to an aide. -RRB- Evacuate remaining ground staff.", "INT. REBEL BASE - MAIN HANGAR Muffled distant explosions create widening cracks in the ice roof of the hangar. Trying to ignore the noise and falling bits of snow, Han works on one of the Falcon's lifters while Chewie works on one of the wings. Noticing Chewie attach a wrong part, Han grows impatient. HAN No, no! No! This one goes there, that one goes there. Right? In another area of the hangar, Threepio watches as Artoo is raised up into Luke's X - wing fighter. THREEPIO Artoo, you take good care of Master Luke now, understand? And. do take good care of yourself. Oh, dear, oh, dear.", "EXT. HOTH - BATTLEFIELD The fierce battle on the vast snow plains of Hoth rages on. The Imperial walkers continue their slow, steady assault on the Rebel base, firing lasers as they lumber ever onward. In the snow trench, Rebel troops fire large bazookalike guns and dishlike ray guns as explosions erupt around them. A gun tower is hit by a laser bolt and instantly explodes. Another blast destroys a ray gun.", "INT. IMPERIAL SNOW WALKER - COCKPIT General Veers studies various readouts on his control panel. VEERS All troops will debark for ground assault. Prepare to target the main generator.", "EXT. HOTH - BATTLEFIELD Luke's speeder and Rogue Two fly in formation, banking from right to left and flying above the erupting battlefield. Flak bursts all around them.", "INT. LUKE'S SNOWSPEEDER, ROGUE LEADER - COCKPIT Luke, glancing over, sees Rogue Two on his left. His ship shudders as flak bursts nearby. LUKE -LRB- into comlink. -RRB- Rogue Two, are you all right?", "INT. ZEV'S SNOWSPEEDER, ROGUE TWO - COCKPIT ZEV -LRB- into comlink. -RRB- Yeah. I'm with you, Rogue Leader.", "INT. LUKE'S SNOWSPEEDER, ROGUE LEADER - COCKPIT LUKE -LRB- into comlink. -RRB- We'll set harpoon. I'll cover for you.", "EXT. HOTH - BATTLEFIELD The two speeders race across the horizon toward the giant walkers.", "INT. ZEV'S SNOWSPEEDER, ROGUE TWO - COCKPIT ZEV -LRB- into comlink. -RRB- Coming around.", "INT. LUKE'S SNOWSPEEDER, ROGUE LEADER - COCKPIT LUKE -LRB- into comlink. -RRB- Watch that cross fire, boys.", "INT. ZEV'S SNOWSPEEDER, ROGUE TWO - COCKPIT ZEV -LRB- into comlink. -RRB- Set for position three. -LRB- to gunner. -RRB- Steady. LUKE -LRB- over comlink. -RRB- Stay tight and low.", "EXT. ZEV'S SNOWSPEEDER, ROGUE TWO Luke's speeder moves in formation with Rogue Two, when suddenly Zev's speeder is hit by a laser bolt. His ship bucks violently under the impact and the cockpit explodes in a ball of flame. Spewing smoke, the speeder hurtles toward a looming walker. Before they collide. Rogue Two explodes in a million flaming pieces.", "INT. LUKE'S SNOWSPEEDER, ROGUE LEADER - COCKPIT Desperately, Luke works the controls of his flak - buffeted ship. Suddenly, the speeder is rocked by a huge explosion. Luke struggles with the controls with a look of terror on his face. The speeder fills with smoke, and electrical sparks jump about the cockpit. LUKE -LRB- into comlink. -RRB- Hobbie, I've been hit!", "INT. REBEL BASE - COMMAND CENTER Apart from the distant thunder of laser blasts, the corridor is strangely quiet and empty. Running footsteps echo through the freezing hallway, then Han appears. Cracks have appeared in some of the walls and some pipes have broken, sending hot steam billowing into the underground hallways. Han hurries into the command center. It is a shambles, but some people are still at their posts. As he enters, a gigantic cave - in almost obliterates the room. He finds Leia and Threepio near one of the control boards. HAN You all right? Leia nods. She is surprised to see him. LEIA Why are you still here? HAN I heard the command center had been hit. LEIA You got your clearance to leave. HAN Do n't worry. I'll leave. First I'm going to get you to your ship. THREEPIO Your Highness, we must take this last transport. It's our only hope. LEIA -LRB- to controller. -RRB- Send all troops in sector twelve to the south slope to protect the fighters. A blast rocks the command center, throwing Threepio backward into Han's arms. ANNOUNCER -LRB- over loudspeaker. -RRB- Imperial troops have entered the base. HAN Come on. that's it. LEIA -LRB- to head controller. -RRB- Give the evacuation code signal. And get to your transports! Leia looks exhausted. Han grabs her and starts to lead her out. As Han, Leia, and Threepio run out of the command center, the code signal can be heard echoing off the corridor walls. HEAD CONTROLLER K - one - zero. all troops disengage. THREEPIO -LRB- to Han and Leia. -RRB- Oh! Wait for me!", "EXT. BATTLEFIELD - SNOW TRENCH Rebel troops retreat under the awesome Imperial onslaught. OFFICER Begin retreat! SECOND OFFICER Fall back! Troops flee from the battle, the ground exploding around them.", "EXT. HOTH - BATTLEFIELD Three of the giant walkers, firing lasers, advance toward the Rebel headquarters.", "EXT. HOTH - SNOW TRENCH Continuing their retreat, the Rebels see the walkers looming ever nearer.", "EXT. HOTH - BATTLEFIELD - ICE PLAIN On the battlefield, Luke watches as a walker foot rises and moves over him. He looks up at the underbelly of the huge walker, passing overhead. Running beneath the monstrous machine, Luke fires his harpoon gun at the walker's underside. A thin cable follows the projectile from the gun. The magnetic head and cable attach firmly to the metal hull. Still running under the walker, Luke attaches the cable drum to his belt buckle. Soon he is pulled up the cable and hangs dangling underneath the walker. The walker's giant feet continue to pound onward across the frozen snow. Stray laser bolts whistle by Luke as he climbs up the cable to the walker's hull, reaching a small hatch. Hanging precariously, Luke cuts the solid metal hatch with his laser sword. He takes a landmine from around his neck and throws it inside the Imperial machine. Quickly, Luke starts down the cable and crashes onto the icy ground far below. He lies unconscious as a giant rear leg passes by - and just misses him. The giant walker stops in mid - step. A muffled explosion comes from within - and then the walker's mechanical insides are spewed out every conceivable opening. The machine sits dead in its tracks, smoking like a locomotive on stilts.", "EXT. HOTH - BATTLEFIELD Veers's walker continues to advance toward the Rebel base. The smoldering walker that Luke exploded stands smoking just to the right of Veers's path.", "INT. IMPERIAL SNOW WALKER - COCKPIT Inside his walker, General Veers prepares to fire on the Rebel power generators. VEERS Distance to power generators? PILOT One - seven, decimal two - eight. Veers reaches for the electrorangefinder and lines up the main generator. VEERS Target. Maximum fire power.", "EXT. HOTH - BATTLEFIELD The Rebel troops continue their desperate retreat, pushed back by the relentless Imperial assault.", "INT. HOTH - REBEL BASE - ICE CORRIDORS With Threepio lagging behind, Han and Leia race through the crumbling ice corridors. Suddenly, there is an explosion. Han turns, grabs the princess, and pulls her to the wall as a tremendous cave - in blacks their path. He takes the comlink from his pocket. HAN -LRB- into comlink. -RRB- Transport, this is Solo. Better take off - I ca n't get to you. I'll get the princess out on the Falcon. Han and Leia turn and race down the corridor. THREEPIO But. but. but. where are you going? Uh. come back!", "INT. HOTH - REBEL BASE - COMMAND CENTER Imperial troops have reached the base. As they push through the blocked passageway, Darth Vader strides behind them.", "INT. HOTH - REBEL BASE - ICE CORRIDOR Han and Leia run toward the entrance of the main hangar where the Millennium Falcon is docked. Threepio still lags behind. THREEPIO Wait! Wait for me! Wait! Stop! The door to the hangar closes in his face. THREEPIO -LRB- exasperated. -RRB- How typical. Quickly, the door reopens as Han reaches out and pulls the golden droid through. HAN Come on.", "INT. HOTH - REBEL BASE - MAIN HANGAR Chewie paces under the shelter of the Millennium Falcon's landing gear. The giant Wookiee pats the underbelly of his beloved ship and barks a few reassuring words. As he searches worriedly for his captain, something at last catches his eye. Chewie lets out a relieved shriek at seeing Han and Leia running toward the ship. The Wookiee runs out into the falling ice, lets out a howl, then runs up the ship's ramp. Han and Leia run up the ramp after him, closely followed by Threepio. HAN Hurry up, goldenrod, or you're going to be a permanent resident! THREEPIO Wait! Wait!", "INT. HOTH - REBEL BASE - ICE CORRIDOR Imperial troops run through the base corridors. Vader surveys the place. A huge chunk falls, almost hitting him, but he calmly, purposefully, continues around it.", "INT. REBEL BASE - MAIN HANGER - MILLENNIUM FALCON A distant, huge, explosion rocks the hangar deck. Ice cakes come crashing down on the Millennium Falcon.", "INT. MAIN HANGAR - MILLENNIUM FALCON - MAIN HOLD Han, standing before a control panel, is busy flipping switches as Chewie watches a troublesome gauge. A worried Leia observes their efforts. HAN -LRB- to Chewie. -RRB- How's this? The Wookiee barks a negative reply. LEIA Would it helped if I got out and pushed? HAN It might. Threepio clanks into the hold. THREEPIO Captain Solo, Captain Solo. sir, might I suggest that you. Han gives the gold robot a devastating look. THREEPIO It can wait.", "INT. MAIN HANGAR - MILLENNIUM FALCON - COCKPIT They move to the cockpit where Han flips some more switches. Leia watches him, impatient, disbelieving. LEIA This bucket of bolts is never going to get us past that blockade. HAN This baby's got a few surprises left in her, sweetheart. Han and Leia look out the cockpit window and see a squad of stormtroopers rushing into the far side of the hangar. Quickly, Han straps himself into the pilot's seat and Leia into the navigator's chair.", "INT. HOTH - REBEL BASE - MAIN HANGAR Stormtroopers hurriedly set up a large bazookalike weapon. Behind them the giant hangar doors open slowly.", "EXT. MAIN HANGAR - MILLENNIUM FALCON A laser gun appears on the Falcon and swings around to aim at the Imperial troops. The stormtroopers, preparing to fire their bazooka cannon, are hit by the Falcon's fire and are thrown about in all directions.", "INT. MAIN HANGAR - MILLENNIUM FALCON - COCKPIT Chewie rushes into the cockpit. HAN Come on! Come on! Switch over. Let's hope we do n't have a burnout. A laser hits the window near Chewie as he is settling into his chair. Letting out a loud whelp, Chewie quickly pulls back on the controls and the first stage of engine fire can be heard. Han flashes a big grin at Leia. HAN See? LEIA Someday you're going to be wrong, and I hope I'm there to see it. Han looks at Chewie. HAN Punch it! The roar of the Falcon's main engines blasts out everything as the ice - cave wall rushes by outside the cockpit window.", "INT. REBEL BASE - MAIN HANGAR More stormtroopers run into the hangar, closely followed by Vader. Hearing the loud roar of the Millennium Falcon's engines, Vader looks toward the main hangar doors just in time to see the Falcon lift up and disappear outside the cave.", "EXT. HOTH - ICE SLOPE - DAY Luke and two other pilots look up as the Millennium Falcon races above them, flying very close to the ground. The three pilots turn then, and trudge onward toward their X - wing fighters, each going to his own ship. Luke waves farewell, then heads toward his own fighter. Artoo, seated on his cubbyhole, chirps an excited greeting as Luke climbs aboard the spacecraft. LUKE Artoo! Get her ready for takeoff. From his ship, Luke sees Wedge in his own X - wing, preparing for takeoff. WEDGE Good luck, Luke. See you at the rendezvous. Luke smiles and nods at Wedge, then lowers himself into the cockpit of his X - wing while Artoo waits in the cubbyhole, beeping impatiently. LUKE Do n't worry, Artoo. We're going, we're going. The canopy over the X - wing lowers and snaps shut.", "EXT. SPACE - LUKE'S X-WING Luke's fighter, its wings closed, speeds away from the icy planet. Soon it disappears into the stars.", "INT. LUKE'S X-WING - COCKPIT Luke, looking thoughtful, suddenly makes a decision. He flips several switches. The stars shift as he takes his fighter into a steep turn. The X - wing banks sharply and flies away in a new direction. The monitor screen on Luke's control panel prints out a question from the concerned Artoo. LUKE -LRB- into comlink. -RRB- There's nothing wrong, Artoo. I'm just setting a new course. Artoo beeps once again. LUKE -LRB- into comlink. -RRB- We're not going to regroup with the others. Artoo begins a protest, whistling an unbelieving, `` What?!'' Luke reads Artoo's exclamation on his control panel. LUKE -LRB- into comlink. -RRB- We're going to the Dagobah system. Luke checks his readouts and makes a few adjustments. He rides along with only the soft hum of the instruments to break the silence. Finally, Artoo chirps up. LUKE -LRB- into comlink. -RRB- Yes, Artoo? Artoo utters a soft, carefully phrased steam of whistles. LUKE -LRB- into comlink, chuckling. -RRB- That's all right. I'd like to keep it on manual control for a while. The little droid lets out a defeated whimper. Luke smiles, and continues on his course.", "EXT. SPACE - MILLENNIUM FALCON The Millennium Falcon speeds away from Hoth, closely followed by one huge Star Destroyer and four tiny TIE fighters. As it is pursued, the Falcon races toward two very bright star - sized objects.", "INT. MILLENNIUM FALCON - COCKPIT Inside the cockpit, Chewie lets out a loud howl. Han checks as the ship is buffeted by exploding flak. He appears to be doing six things at once. HAN -LRB- harried. -RRB- I saw them! I saw them! LEIA Saw what? HAN Star Destroyers, two of them, coming right at us. Threepio bumps and bangs his way into the cockpit. THREEPIO Sir, sir! Might I suggest. HAN -LRB- to Leia. -RRB- Shut him up or shut him down! -LRB- to Chewie. -RRB- Check the deflector shield! Chewie barks a reply as he readjusts an overhead switch. HAN Oh, great. Well, we can still outmaneuver them.", "EXT. SPACE - MILLENNIUM FALCON - STAR DESTROYERS The Millennium Falcon races toward one of the huge oncoming Star Destroyers. Suddenly, the Falcon starts into a deep dive straight down, closely followed by four TIE fighters. The underside of the Star Destroyer continues on a collision course with two oncoming Star Destroyers. Slowly, it starts to veer to the left.", "INT. STAR DESTROYER - BRIDGE Out the front window, the two approaching Star Destroyers can be seen veering to the left. IMPERIAL OFFICER Take evasive action! Alarms sound all over the huge ship. The two other Star Destroyers get closer, one of them moving over the bridge so close that it makes brushing contact with it.", "EXT. SPACE - MILLENNIUM FALCON - TIE FIGHTERS The Millennium Falcon races away from the colliding Star Destroyers, still followed by four TIE fighters. Laser bolts spark the pitch - black skies.", "INT. MILLENNIUM FALCON - COCKPIT Things have calmed down a bit, but the race is n't over yet. Chewie barks at Han. Leia is still trying to recover from the steep dive. The ship is buffeted by laser blasts. HAN Prepare to make the jump to light - speed. THREEPIO But, sir! The buffeting of lasers becomes louder and stronger. LEIA They're getting closer! HAN -LRB- with a gleam in his eye. -RRB- Oh yeah? Watch this. Expectantly, they look out the cockpit window as stars do not go into hyperspace, but just sit there. Han and Chewie look at each other and are thrown into an acute state of concern. LEIA Watch what? Han tries again. Still nothing. HAN I think we're in trouble. THREEPIO If I may say so, sir, I noticed earlier that the hyperdrive motivator has been damaged. It's impossible to go to light - speed! HAN We're in trouble! The explosions become heavier.", "EXT. SPACE - MILLENNIUM FALCON - TIE FIGHTERS - STAR DESTROYER The Falcon races into the starry vastness, followed by the four Imperial TIE fighters and an Imperial Star Destroyer.", "INT. MILLENNIUM FALCON - COCKPIT Stars race by as flak bursts outside the Falcon's window.", "INT. MILLENNIUM FALCON - HOLD Han works furiously at some control panels while giving various orders to Chewie. HAN Horizontal boosters! -LRB- Chewie barks. -RRB- Alluvial dampers! Well that's not it. -LRB- Chewie barks. -RRB- Bring me the hydrospanners! Chewie hurries over to the pit and places the tools on the edge. HAN I do n't know how we're going to get out of this one. Suddenly, a loud thump hits the side of the Falcon, causing it to lurch radically. Chewie barks. The tools fall into the pit on top of Han. HAN Oww! Chewie! More turbulence rocks the ship. HAN That was no laser blast! Something hit us. LEIA -LRB- over comlink. -RRB- Han, get up here! HAN Come on, Chewie! Han climbs out of the hold like a shot. Both he and Chewie run out of the hold and toward the cockpit.", "INT. MILLENNIUM FALCON - COCKPIT Out the front cockpit window, they see hundreds of asteroids racing by. LEIA Asteroids! Han changes places with Leia who has been at the controls, and Chewie gets into his chair. Han works his controls as a chunk of rock crosses in front of the ship. HAN Oh, no! Chewie, set two - seven - one. LEIA What are you doing? You're not actually going into an asteroid field? HAN They'd be crazy to follow us, would n't they? Another asteroid thumps against the ship and Leia winces at the jolt. LEIA You do n't have to do this to impress me. THREEPIO Sir, the possibility of successfully navigating an asteroid field is approximately three thousand, seven hundred and twenty to one. HAN Never tell me the odds!", "EXT. ASTEROID BELT - MILLENNIUM FALCON The Falcon turns into the asteroid storm and as the ship completes its turn, asteroids start coming straight at the cockpit windows. A large asteroid tumbles away from the Falcon's path at top speed. Several smaller asteroids crash into the big one, creating small explosions on its surface. Other asteroids of all sizes pass by in every direction, some colliding and exploding. The tiny Millennium Falcon veers around the big asteroid and races past it through the rain of rocks, followed by four TIE fighters, which bob and weave around the asteroids. One of the pursuing TIE fighters connects with an asteroid and explodes. The other fighters are pelted with a steady stream of smaller explosions. Two huge asteroids tumble toward the Millennium Falcon, which quickly banks around both of them. The three TIE fighters follow in hot pursuit until one of the fighters scrapes an asteroid and tumbles out of control into deep space.", "EXT. SPACE - STAR DESTROYER - ASTEROID BELT The massive Star Destroyer blasts oncoming asteroids as it follows the Falcon. Smaller asteroids explode across its vast surface.", "EXT. MILLENNIUM FALCON - TIE FIGHTERS - ASTEROID BELT The Falcon twists on its side as it races around an oncoming asteroid. Two TIE fighters follow in the distance, coming from either side.", "INT. MILLENNIUM FALCON - COCKPIT Asteroids race by the cockpit window as Han pilots his trusty craft through the dangerous field. Looking out the cockpit window, the Falcon crew sees a big asteroid drop past the window, narrowly missing their ship. Chewie barks in terror as a slightly smaller asteroid comes especially close - to close - and bounces off the Falcon with a loud crunch. Threepio's hands cover his eyes. He manages a short peek at the cockpit window. Princess Leia sits stone - faced, staring at the action. Han gives her a quick look. HAN You said you wanted to be around when I made a mistake ; well, this could be it, sweetheart. LEIA I take it back. We're going to get pulverized if we stay out here much longer. The group watches as more asteroids race by outside the window. HAN I'm not going to argue with that. THREEPIO Pulverized? HAN I'm going in closer to one of those big ones. LEIA Closer? THREEPIO Closer?! Chewbacca barks the same word, only louder.", "EXT. MILLENNIUM FALCON - ASTEROID BELT The Millennium Falcon dives toward the surface of one of the moon - sized asteroids. There is a continued display of explosions against the starry void as smaller asteroids collide with larger chunks of rock. The two remaining TIE fighters follow the Falcon to the large asteroid. The Falcon skims the surface of the giant asteroid as, all the while, small asteroids explode on the surface of the ship. The TIE fighters approach the Falcon, but a giant asteroid hurtles directly into their path. As the asteroid continues on its way, it leaves remains of the two exploded TIE fighters to tumble into deep space.", "INT. MILLENNIUM FALCON - COCKPIT Rattled by the violent rocking of the starship, Threepio is nearly in hysterics. THREEPIO Oh, this is suicide! Han notices something on his main scope and nudges his faithful Wookiee, pointing. HAN There. That looks pretty good. LEIA What looks pretty good? HAN Yeah. That'll do nicely. THREEPIO -LRB- to Leia. -RRB- Excuse me, ma'am, but where are we going? Out the cockpit window, they see that they are skimming the surface of the enormous asteroid and nearing a large crater.", "EXT. MILLENNIUM FALCON - GIANT ASTEROID CRATER The Millennium Falcon dives into the huge crater and disappears.", "INT. MILLENNIUM FALCON - COCKPIT LEIA I hope you know what you're doing. HAN Yeah, me too.", "INT. GIANT ASTEROID CRATER The Falcon races down into the crater. The walls are barely visible as the ship speed through the tunnellike opening. A small cave appears on one side of the crater, and the Falcon turns, slows, and scoots into it.", "EXT. SPACE - LUKE'S X-WING The tiny X - wing speeds toward the cloud cover of Dagobah. Artoo, riding on the back of the fighter, turns his head back and forth with some anxiety.", "INT. LUKE'S X-WING - COCKPIT Luke watches Artoo's words as they are translated and screened on the computer scope. LUKE -LRB- into comlink. -RRB- Yes, that's it. Dagobah. Artoo beeps a hopeful inquiry. LUKE -LRB- into comlink. -RRB- No, I'm not going to change my mind about this. -LRB- getting a little nervous. -RRB- I'm not picking up any cities or technology. Massive life - form readings, though. There's something alive down there. Artoo beeps, this time a slightly worried question. LUKE -LRB- into comlink. -RRB- Yes, I'm sure it's perfectly safe for droids.", "EXT. SPACE - DAGOBAH - LUKE'S X-WING The X - wing continues its flight through the twilight above the cloud - covered planet.", "INT. LUKE'S X-WING - COCKPIT Luke sees the cloud race by as he takes his craft closer to the planet. He must operate his controls carefully since the cloud cover has completely obscured his vision. An alarm buzzes in the background, Artoo beeps and whistles frantically. LUKE -LRB- into comlink. -RRB- I know, I know! All the scopes are dead. I ca n't see a thing! Just hang on, I'm going to start the landing cycle. The blast of the retrorockets is deafening, drowning out Artoo's electronic squeals. Suddenly, there is a cracking sound as if limbs were being broken off trees and then a tremendous jolt as the spacecraft stops. Luke pulls a switch and his canopy pops open.", "EXT. DAGOBAH - DUSK The mist - shrouded X - wing fighter is almost invisible in the thick fog. Luke climbs out onto the long nose of the spacecraft as Artoo pops out of his cubbyhole on the back. The young warrior surveys the fog, which is barely pierced by the ship's landing lights. About all he can make out are some giant, twisted trees nearby. Artoo whistles anxiously. LUKE No, Artoo, you stay put. I'll have a look around. Artoo lets out a short beep. As Luke moves along the nose, Artoo loses his balance and disappears with a splash into the boggy lake. LUKE Artoo? Luke kneels and leans over the plane looking for Artoo, but the water is still and reveals no sign of the little droid. LUKE Artoo! Where are you? A small periscope breaks the surface of the water and a gurgly beep is heard. The periscope starts to move to shore. Relieved, Luke starts running along the nose of the fighter to its tip. LUKE Artoo! You be more careful. The outline of the shore is now more than ten feet away. Luke jumps off the plane into the water, scrambles up to the shore, and turns to look for Artoo. The periscope still steadily moves toward shore. LUKE Artoo - that way! Suddenly, through the thick fog layer, a dark shape appears, moving toward the little droid. The dark, sinuous bog beast dives beneath the swampy water, making a loud clunk against Artoo's metal hull. The droid disappears from sight, uttering a pathetic electronic scream. Holding his ignited lightsaber before him, Luke wades a few feet into the murky pool, looking for any sign of his little friend. LUKE Artoo! The black surface is still as death itself. until a few bubbles begin to appear. Then, phheewaat! The runt - size robot is spit out of the water, makes a graceful arc, and comes crashing down into a patch of soft gray moss. LUKE Oh, no! Are you all right? Come on. You're lucky you do n't taste very good. Anything broken? Luke helps Artoo to his feet and begins wiping the mud and roots from his round metal body. Artoo responds with feeble, soggy beeps. LUKE If you're saying coming here was a bad idea, I'm beginning to agree with you. Oh, Artoo, what are we doing here? It's like. something out of a dream, or, I do n't know. Maybe I'm just going crazy. As Luke glances around at the spooky swamp jungle that surrounds him, Artoo ejects a stream of muddy water from one of his cranial ports.", "EXT. VADER'S STAR DESTROYER - VADER'S CHAMBER Admiral Piett hesitates in the entryway to Vader's private cubicle. After a moment, he steps into the room and pauses at the surprising sight before him. Darth Vader, his back turned, is silhouetted in the gloom on the far side of the chamber. A black, insectlike droid attends him. Among the various apparatuses surrounding them, a respirator tube now retracts from Vader's uncovered head. The head is bald with a mass of ugly scar tissue covering it. The black droid then lowers the mask and helmet onto Vader's head. When it is in place, the Dark Lord turns to face Piett. VADER Yes, Admiral? PIETT Our ships have sighted the Millennium Falcon, lord. But. it has entered an asteroid field and we can not risk. VADER -LRB- interrupting. -RRB- Asteroids do not concern me, Admiral. I want that ship and not excuses. PIETT Yes, lord.", "EXT. ASTEROID CAVE - MILLENNIUM FALCON The pirate starship rests in a dark, dripping asteroid cave. It is so dark that the cave's exact dimensions are impossible to determine.", "INT. MILLENNIUM FALCON - COCKPIT Han and Chewie busily shut down the engine and all electronic systems. Threepio and Leia watch worriedly. HAN I'm going to shut down everything but the emergency power systems. THREEPIO Sir, I'm almost afraid to ask, but. does that include shutting me down, too? Chewie barks `` yes''. But Han thinks otherwise. HAN No, I need you to talk to the Falcon, find out what's wrong with the hyperdrive. Suddenly, the ship lurches, causing all the loose items in the cockpit to go flying. Chewie howls. THREEPIO Sir, it's quite possible this asteroid is not entirely stable. HAN Not entirely stable? I'm glad you're here to tell us these things. Chewie, take the professor in the back and plug him into the hyperdrive. THREEPIO Oh! Sometimes I just do n't understand human behavior. After all, I'm only trying to do my job in the most. The sliding door closes behind the indignant Threepio as Chewie and he move back to the hold. Suddenly, the ship lurches again, throwing Leia across the cabin into Han's arms. Then, abruptly, the motion stops as suddenly as it started. With some surprise, Han and Leia realize they are in each other's arms. LEIA Let go. HAN Sshh! LEIA Let go, please. Leia flushes, averting her eyes. She's not exactly fighting to get free. But, of course, Han blows it. HAN Do n't get excited. The anger rises in Leia. LEIA Captain, being held by you is n't quite enough to get me excited. HAN Sorry, sweetheart. We have n't got time for anything else. Han grins quickly wickedly at Leia as he turns and exits through the door. Leia's confused emotions show clearly on her lovely face.", "EXT. DAGOBAH - BOG CLEARING - DUSK The mist has dispersed a bit, but it is still a very gloomy - looking swamp. Luke pulls an equipment box from the shore to the clearing. He ignites a little fusion furnace and warms his hands before it. Taking a power cable, he plugs it into Artoo's noselike socket. LUKE Ready for some power? Okay. Let's see now. Put that in there. There you go. The droid whistles his appreciation. Luke then opens a container of processed food and sits before the thermal heater. LUKE -LRB- sighs. -RRB- Now all I have to do is find this Yoda. if he even exists. Nervously, he looks around at the foreboding jungle. LUKE Still. there's something familiar about this place. I feel like. I do n't know. STRANGE VOICE Feel like what? Luke jumps out of his skin. Artoo screeches in terror. The young warrior grabs for his lightsaber as he spins around, looking for the speaker. Mysteriously standing right in front of Luke is a strange, bluish creature, not more than two feet tall. The wizened little thing is dressed in rags. It motions toward Luke's sword. LUKE -LRB- looking at the creature. -RRB- Like we're being watched! CREATURE Away with your weapon! I mean you no harm. After some hesitation, Luke puts away his weapon, although he really does n't understand why. Artoo watches with interest. CREATURE I am wondering, why are you here? LUKE I'm looking for someone. CREATURE Looking? Found someone, you have, I would say, hmmm? The little creature laughs. LUKE -LRB- Trying to keep from smiling. -RRB- Right. CREATURE Help you I can. Yes, mmmm. LUKE I do n't think so. I'm looking for a great warrior. CREATURE Ahhh! A great warrior. -LRB- laughs and shakes his head. -RRB- Wars not make one great. With the aid of a walking stick, the tiny stranger moves over to one of the cases of supplies. He begins to rummage around. Artoo moves to the edge of the case - standing almost eye level to the creature who is carelessly handling the supplies - and squeaks his disapproval. Their tiny visitor pick up the container of food Luke was eating from and takes a bite. LUKE Put that down. Hey! That's my dinner! The creature spits out the bite he has taken. He makes a face. CREATURE How you get so big, eating food of this kind? He flips the container in Luke's direction and reaches into one of Luke's supply cases. LUKE Listen, friend, we did n't mean to land in that puddle, and if we could get our ship out, we would, but we ca n't, so why do n't you just. CREATURE -LRB- teasing. -RRB- Aww, can not get your ship out? The creature spots something of interest in Luke's case. Luke loses patience and grabs the case away. The creature retains his prize - a tiny power lamp - and examines it with delight. LUKE Hey, you could have broken this. Do n't do that. Ohhh. you're making a mess. Hey, give me that! CREATURE -LRB- retreating with the lamp. -RRB- Mine! Or I will help you not. Clutching its treasure, the creature backs away from Luke, drawing closer to Artoo. As Luke and the creature argue, one of Artoo's little arms slowly moves out toward the power lamp, completely unnoticed by the creature. LUKE I do n't want your help. I want my lamp back. I'll need it to get out of this slimy mudhole. CREATURE Mudhole? Slimy? My home this is. Artoo grabs hold of the lamp and the two little figures are immediately engaged in a tug - of - war over it. Artoo beeps a few angry, `` Give me thats.'' CREATURE Ah, ah, ah! LUKE Oh, Artoo, let him have it! CREATURE Mine! Mine! LUKE Artoo! CREATURE Mine! The creature lets go with one hand and pokes Artoo lightly with one finger. Artoo reacts with a startled squeal, and lets go. CREATURE Mine! LUKE -LRB- fed up. -RRB- Now will you move along, little fella? We're got a lot of work to do. CREATURE No! No, no! Stay and help you, I will. -LRB- laughs. -RRB- Find your friend, hmm? LUKE I'm not looking for a friend. I'm looking for a Jedi Master. CREATURE Oohhh. Jedi Master. Yoda. You seek Yoda. LUKE You know him? CREATURE Mmm. Take you to him, I will. -LRB- laughs. -RRB- Yes, yes. But now, we must eat. Come. Good food. Come. With that, the creature scurries out of the clearing, laughing merrily. Luke stares after him. All he sees is the faint light from the small power lamp moving through the fog. Luke makes his decision and starts after the creature. CREATURE -LRB- in the distance. -RRB- Come, come. Artoo, very upset, whistles a blue streak of protest. LUKE Stay here and watch after the camp, Artoo. Artoo beeps even more frantically. But as Luke disappears from view, the worried little droid grows quieter, and utters a soft electronic sigh.", "INT. MILLENNIUM FALCON - MAIN HOLD AREA Threepio whistles and beeps a strange dialect into the control panel in front of him. The control panel whistles back a few mystifying beeps. THREEPIO Oh, where is Artoo when I need him? Han enters the hold area and kneels on the floor near the control box. THREEPIO Sir, I do n't know where your ship learned to communicate, but it has the most peculiar dialect. I believe, sir, it says that the power coupling on the negative axis has been polarized. I'm afraid you'll have to replace it. HAN Well, of course I'll have to replace it. He hands a wire coil up to Chewie who is working near the ceiling. HAN Here! And Chewie. Chewie brings his head back through the trap door in the ceiling and whines. Han glances back at Threepio, then speaks quietly to Chewie so only he can hear. HAN -LRB- continuing. -RRB-. I think we'd better replace the negative power coupling. Leia finishes welding the valves she has been working on and attempts to reengage the system by pulling a lever attached to the valve. It does n't budge. Han notices her struggle, and moves to help her. She rebuffs him. HAN Hey, Your Worship, I'm only trying to help. LEIA -LRB- still struggling. -RRB- Would you please stop calling me that? Han hears a new tone in her voice. He watches her pull on the lever. HAN Sure, Leia. LEIA Oh, you make it so difficult sometimes. HAN I do, I really do. You could be a little nicer, though. -LRB- he watches her reaction. -RRB- Come on, admit it. Sometimes you think I'm all right. She lets go of the lever and rubs her sore hand. LEIA Occasionally. -LRB- a little smile, haltingly. -RRB-. when you are n't acting like a scoundrel. HAN -LRB- laughs. -RRB- Scoundrel? Scoundrel? I like the sound of that. With that, Han takes her hand and starts to massage it. LEIA Stop that. HAN Stop what? Leia is flushes, confused. LEIA Stop that! My hands are dirty. HAN My hands are dirty, too. What are you afraid of? LEIA -LRB- looking right into his eyes. -RRB- Afraid? Han looks at her with a piercing look. He's never looked more handsome, more dashing, more confident. He reaches out slowly and takes Leia's hand again from where it is resting on a console. He draws it toward him. HAN You're trembling. LEIA I'm not trembling. Then with an irresistible combination of physical strength and emotional power, the space pirate begins to draw Leia toward him. very slowly. HAN You like me because I'm a scoundrel. There are n't enough scoundrels in your life. Leia is now very close to Han and as she speaks, her voice becomes an excited whisper, a tone completely in opposition to her words. LEIA I happen to like nice men. HAN I'm a nice man. LEIA No, you're not. You're. He kisses her now, with slow, hot lips. He takes his time, as though he had forever, bending her body backward. She has never been kissed like this before, and it almost makes her faint. When he stops, she regains her breath and tries to work up some indignation, but finds it hard to talk. Suddenly, Threepio appears in the doorway, speaking excitedly. THREEPIO Sir, sir! I've isolated the reverse power flux coupling. Han turns slowly, icily, from their embrace. HAN Thank you. Thank you very much. THREEPIO Oh, you're perfectly welcome, sir. The moment spoiled, Han marches out after Threepio.", "EXT. SPACE - ASTEROID FIELD The Imperial fleet moves through the asteroid - filled void, intently seeking its prey.", "INT. VADER'S STAR DESTROYER - BRIDGE Asteroids collide, creating a fireworks display outside the bridge window. Darth Vader stands, staring out the window above the control deck. Then slowly turns toward the bridge. Before him are the hologram images of twenty battleship commanders. One of these images, the commander of a ship that has just exploded, is fading away quickly. Another image, in the center and a little apart from the others, is faded and continually disrupted by static. It is the image of Captain Needa, commander of the Star Destroyer most hotly on the tail of the Millennium Falcon. Admiral Piett and an aide stand behind the Dark Lord. NEEDA -LRB- in hologram. -RRB-. and that, Lord Vader, was the last time they appeared in any of our scopes. Considering the amount of damage we've sustained, they must have been destroyed. VADER No, Captain, they're alive. I want every ship available to sweep the asteroid field until they are found. The Imperial star captains fade out one by one as Vader turns to Admiral Piett. PIETT Lord Vader. VADER Yes, Admiral, what is it? The admiral is scared, his face white as a sheet. PIETT The Emperor commands you make contact with him. VADER Move the ship out of the asteroid field so that we can send a clear transmission. PIETT Yes, my lord.", "EXT. ASTEROID FIELD - VADER'S STAR DESTROYER Vader's Imperial Star Destroyer moves against the vast sea of stars away from the rest of the fleet.", "INT. VADER'S STAR DESTROYER - VADER'S CHAMBER The Dark Lord, Darth Vader, is alone in his chamber. A strange sound enters the room and a light begins to play across Vader's black figure. He looks up and bows quickly. A twelve - foot hologram of the Galactic Emperor materializes before Vader. The Emperor's dark robes and monk's hood are reminiscent of the cloak worn by Ben Kenobi. His voice is even deeper and more frightening than Vader's. VADER What is thy bidding, my master? EMPEROR There is a great disturbance in the Force. VADER I have felt it. EMPEROR We have a new enemy - Luke Skywalker. VADER Yes, my master. EMPEROR He could destroy us. VADER He's just a boy. Obi - Wan can no longer help him. EMPEROR The Force is strong with him. The son of Skywalker must not become a Jedi. VADER If he could be turned, he would become a powerful ally. EMPEROR Yes. Yes. He would be a great asset. Can it be done? VADER He will join us or die, my master. Vader kneels. The supreme Emperor passes a hand over the crouched Lord of the Sith and fades away.", "EXT. DAGOBAH - CREATURE'S HOUSE - NIGHT A heavy downpour of rain pounds through the gnarled trees. A strange baroque mud house sits on a moss - covered knoll on the edge of a small lagoon. The small, gnomish structure radiates a warm glow from its thick glass windows. As rain tap - dances a merry tune on Artoo's head, the stubby little droid rises up on his tip - toes to peek into one of the glowing portals.", "INT. CREATURE'S HOUSE Artoo, peeking in the window, sees the inside of the house - a very plain, but cozy dwelling. Everything is in the same small scale as the creature. The only thing out of place in the miniature room is Luke, whose height makes the four - foot ceiling seem even lower. He sits cross - legged on the floor of the living room. The creature is in an adjoining area - his little kitchen - cooking up an incredible meal. The stove is a steaming hodgepodge of pots and pans. The wizened little host scurries about chopping this, shredding that, and showering everything with exotic herbs and spices. He rushes back and forth putting platters on the table in front of Luke, who watches the creature impatiently. LUKE Look, I'm sure it's delicious. I just do n't understand why we ca n't see Yoda now. CREATURE Patience! For the Jedi it is time to eat as well. Eat, eat. Hot. Good food, hm? Good, hmm? Moving with some difficulty in the cramped quarters, Luke sits down near the fire and serves himself from the pot. Tasting the unfamiliar concoction, he is pleasantly surprised. LUKE How far away is Yoda? Will it take us long to get there? CREATURE Not far. Yoda not far. Patience. Soon you will be with him. -LRB- tasting food from the pot. -RRB- Rootleaf, I cook. Why wish you become Jedi? Hm? LUKE Mostly because of my father, I guess. CREATURE Ah, your father. Powerful Jedi was he, powerful Jedi, mmm. LUKE -LRB- a little angry. -RRB- Oh, come on. How could you know my father? You do n't even know who I am. -LRB- fed up. -RRB- Oh, I do n't know what I'm doing here. We're wasting our time. The creature turns away from Luke and speaks to a third party. CREATURE -LRB- irritated. -RRB- I can not teach him. The boy has no patience. Luke's head spins in the direction the creature faces. But there is no one there. The boy is bewildered, but it gradually dawns on him that the little creature is Yoda, the Jedi Master, and that he is speaking with Ben. BEN'S VOICE He will learn patience. YODA Hmmm. Much anger in him, like his father. BEN'S VOICE Was I any different when you taught me? YODA Hah. He is not ready. LUKE Yoda! I am ready. I. Ben! I can be a Jedi. Ben, tell him I'm ready. Trying to see Ben, Luke starts to get up but hits his head on the low ceiling. YODA Ready, are you? What know you of ready? For eight hundred years have I trained Jedi. My own counsel will I keep on who is to be trained! A Jedi must have the deepest commitment, the most serious mind. -LRB- to the invisible Ben, indicating Luke. -RRB- This one a long time have I watched. All his life has he looked away. to the future, to the horizon. Never his mind on where he was. Hmm? What he was doing. Hmph. Adventure. Heh! Excitement. Heh! A Jedi craves not these things. -LRB- turning to Luke. -RRB- You are reckless! Luke looks down. He knows it is true. BEN'S VOICE So was I, if you'll remember. YODA He is too old. Yes, too old to begin the training. Luke thinks he detects a subtle softening in Yoda's voice. LUKE But I've learned so much. Yoda turns his piercing gaze on Luke, as though the Jedi Master's huge eyes could somehow determine how much the boy had learned. After a long moment, the little Jedi turns toward where he alone sees Ben. YODA -LRB- sighs. -RRB- Will he finished what he begins? LUKE I wo n't fail you - I'm not afraid. YODA -LRB- turns slowly toward him. -RRB- Oh, you will be. You will be.", "EXT. SPACE - STAR DESTROYERS - ASTEROID FIELD The Imperial fleet around Vader's ship is surrounded by the asteroid storm. Asteroids big and small pelt the vast exteriors of the menacing ships. One of the smaller Imperial vessels is hit by a huge asteroid and explodes in a brilliant flash of light.", "INT. ASTEROID CAVE - MILLENNIUM FALCON - COCKPIT The cockpit is quiet and lit only by the indicator lights on the control panel. Princess Leia sits in the pilot's seat. She runs her hand across the control panel as she thinks of Han and the confusion he has created within her. Suddenly, something outside the cockpit window catches her eye. The reflection of the panel lights obscures her vision until a soft suctionlike cup attaches itself to the windscreen. Leia moves closer to see what it might be. Large, yellow eyes flash open and stare back at her. Startled, she jumps back into her seat, her heart pounding. There is a scurry of feet and a loud screech, and in an instant the eyes are gone. The young princess catches her breath, jumps out of her chair, and races from the cockpit.", "INT. ASTEROID CAVE - MILLENNIUM FALCON - HOLD AREA The lights go bright for a second then out again. Threepio and Chewbacca watch as Han finishes with some wires. THREEPIO Sir, if I may venture an opinion. HAN I'm not really interested in your opinion, Threepio. Leia rushes into the cabin just as Han drops the final floor panel into place. LEIA -LRB- out of breath. -RRB- There's something out there. HAN Where? LEIA Outside, in the cave. As she speaks, there comes a sharp banging on the hull. Chewie looks up and barks anxiously. THREEPIO There it is. Listen! Listen! HAN I'm going out there. LEIA Are you crazy?! HAN I just got this bucket back together. I'm not going to let something tear it apart. He and Chewie grab their breath masks off a rack and hurry out. Leia follows. LEIA Then I'm going with you. THREEPIO I think it might be better if I stay here and guard the ship. -LRB- hears another mysterious noise. -RRB- Oh, no.", "EXT. ASTEROID CAVE - MILLENNIUM FALCON It is very dark inside the huge asteroid cave, too dark to see what is attacking the ship. Leia stamps her foot on the floor of the cave. LEIA This ground sure feels strange. It does n't feel like rock at all. Han kneels and studies the ground, then attempts to study the outline of the cave. HAN There's an awful lot of moisture in here. LEIA I do n't know. I have a bad feeling about this. HAN Yeah. Chewie barks through his face mask, and points toward the ship's cockpit. A five - foot - long shape can be seen moving across the top of the Falcon. The leathery creature lets out a screech as Han blasts it with a laser bolt. HAN -LRB- to Leia. -RRB- Watch out! The black shape tumbles off the spaceship and onto the ground in front of the princess. Han bends down to investigate the dead creature. HAN Yeah, that's what I thought. Mynock. Chewie, check the rest of the ship, make sure there are n't any more attached. They're chewing on the power cables. LEIA Mynocks? HAN Go on inside. We'll clean them off if there are any more. Just then, a swarm of the ugly creatures swoops through the air. Leia puts her arms over her head to protect herself as she runs toward the ship. Chewie shoos another Mynock away with his blaster. Several of the batlike creatures flap their wings loudly against the cockpit window of the Falcon. Inside, Threepio shudders at their presence. THREEPIO Ohhh! Go away! Go away! Beastly little thing. Shoo! Shoo! Han looks around the strange, dripping cave. HAN Wait a minute. He unholsters his blaster and fires at the far side of the huge cave. The cavern begins to shake and the ground starts to buckle. Chewie barks and moves for the ship, followed closely by Leia and Han. The large wings of the Mynocks flap past them as they protect their faces and run up the platform.", "INT. ASTEROID CAVE - MILLENNIUM FALCON - ENTRY AREA As soon as Han and Leia are on board, Chewie closes the main hatch. The ship continues to shake and heave. HAN All right, Chewie, let's get out of here! The Wookiee heads for the cockpit as Han, followed by Threepio, rushes to the hold area and checks the scopes on the control panel. Leia hurries after. LEIA The Empire is still out there. I do n't think it's wise to. Han rushes past her and heads for the cockpit. HAN -LRB- interrupting. -RRB- No time to discuss this in committee. And with that he is gone. The main engines of the Falcon begin to whine. Leia races after him, bouncing around in the shaking ship. LEIA -LRB- angry. -RRB- I am not a committee!", "INT. ASTEROID CAVE - MILLENNIUM FALCON - COCKPIT Han is already in the pilot's seat pulling back on the throttle. The cave - quake has greatly diminished. LEIA You ca n't make the jump to light - speed in this asteroid field. HAN Sit down, sweetheart. We're taking off! As the ship begins to move forward, Chewie barks. He notices something out the window ahead. Threepio sees it too. THREEPIO Look! HAN I see it, I see it. Suddenly, a row of jagged white stalagmites and stalactites can be seen surrounding the entrance. And as the Falcon moves forward, the entrance to the cave grows ever smaller. Han pulls hard on the throttle, sending his ship surging forward. THREEPIO We're doomed! LEIA The cave is collapsing. HAN This is no cave. LEIA What? Leia's mouth drops open. She sees that the rocks of the cave entrance are not rocks at all, but giant teeth, quickly closing around the tiny ship. Chewie howls.", "INT. SPACE SLUG MOUTH The Millennium Falcon, zooming through the monster's mouth, rolls on its side and barely makes it between two of the gigantic white teeth before the huge jaws slams closed.", "EXT. CAVE ENTRANCE - GIANT ASTEROID The enormous space slug moves its head out of the cave as the Falcon flies out of its mouth. The monster tilts its head, watching the starship fly away.", "EXT. MILLENNIUM FALCON - GIANT ASTEROID The Falcon races out of the asteroid crater and into the deadly rain of the asteroid storm.", "EXT. DAGOBAH - DAY With Yoda strapped to his back, Luke climbs up one of the many thick vines that grow in the swamp. Panting heavily, he continues his course - climbing, flipping through the air, jumping over roots, and racing in and out of the heavy ground fog. YODA Run! Yes. A Jedi's strength flows from the Force. But beware of the dark side. Anger. fear. aggression. The dark side of the Force are they. Easily they flow, quick to join you in a fight. If once you start down the dark path, forever will it dominate your destiny, consume you it will, as it did Obi - Wan's apprentice. LUKE Vader. Is the dark side stronger? YODA No. no. no. Quicker, easier, more seductive. LUKE But how am I to know the good side from the bad? YODA You will know. When you are calm, at peace. Passive. A Jedi uses the Force for knowledge and defense, never for attack. LUKE But tell me why I ca n't. YODA -LRB- interrupting. -RRB- No, no, there is no why. Nothing more will I teach you today. Clear your mind of questions. Mmm. Mmmmmmmm. Artoo beeps in the distance as Luke lets Yoda down to the ground. Breathing heavily, he takes his shirt from a nearby tree branch and pulls it on. He turns to see a huge, dead, black tree, its base surrounded by a few feet of water. Giant, twisted roots form a dark and sinister cave on one side. Luke stares at the tree, trembling. LUKE There's something not right here. Yoda sits on a large root, poking his Gimer Stick into the dirt. LUKE I feel cold, death. YODA That place. is strong with the dark side of the Force. A domain of evil it is. In you must go. LUKE What's in there? YODA Only what you take with you. Luke looks warily between the tree and Yoda. He starts to strap on his weapon belt. YODA Your weapons. you will not need them. Luke gives the tree a long look, than shakes his head `` no.'' Yoda shrugs. Luke reaches up to brush aside some hanging vines and enters the tree.", "INT. DAGOBAH - TREE CAVE Luke moves into the almost total darkness of the wet and slimy cave. The youth can barely make out the edge of the passage. Holding his lit saber before him, he sees a lizard crawling up the side of the cave and a snake wrapped around the branches of a tree. Luke draws a deep breath, then pushes deeper into the cave. The space widens around him, but he feels that rather than sees it. His sword casts the only light as he peers into the darkness. It is very quiet here. Then, a loud HISS! Darth Vader appears across the blackness, illuminated by his own just - ignited laser sword. Immediately, he charges Luke, saber held high. He is upon the youth in seconds, but Luke sidesteps perfectly and slashes at Vader with his sword. Vader is decapitated. His helmet - encased head flies from his shoulders as his body disappears into the darkness. The metallic banging of the helmet fills the cave as Vader's head spins and bounces, smashes on the floor, and finally stops. For an instant it rests on the floor, then it cracks vertically. The black helmet and breath mask fall away to reveal. Luke's head. Across the space, the standing Luke gasps at the sight, wide - eyed in terror. The decapitated head fades away, as in a vision.", "EXT. DAGOBAH - CAVE - DUSK Meanwhile, Yoda sits on the root, calmly leaning on his Gimer Stick.", "EXT. SPACE - VADER'S STAR DESTROYER Vader's Imperial Star Destroyer moves through space, guarded by its convoy of TIE fighters.", "INT. VADER'S STAR DESTROYER - BRIDGE - CONTROL DECK Vader stands in the back control area of his ship's bridge with a motley group of men and creatures. Admiral Piett and two controllers stand at the front of the bridge and watch the group with scorn. PIETT Bounty hunters. We do n't need that scum. FIRST CONTROLLER Yes, sir. PIETT Those Rebels wo n't escape us. A second controller interrupts. SECOND CONTROLLER Sir, we have a priority signal from the Star Destroyer Avenger. PIETT Right. The group standing before Vader is a bizarre array of galactic fortune hunters There is Bossk, a slimy, tentacled monster with two huge, bloodshot eyes in a soft baggy face ; Zuckuss and Dengar, two battle - scarred, mangy human types ; IG - 88, a battered, tarnished chrome war droid ; and Boba Fett, a man in a weapon - covered armored space suit. VADER there will be a substantial reward for the one who finds the Millennium Falcon. You are free to use any methods necessary, but I want them alive. No disintegrations. BOBA FETT As you wish. At that moment, Admiral Piett approaches Vader in a rush of excitement. PIETT Lord Vader! My lord, we have them.", "EXT. IMPERIAL STAR DESTROYER, AVENGER - ASTEROID BELT The Millennium Falcon speeds through deep space, closely followed by a firing Imperial Star Destroyer. A large asteroid about the same size as the Falcon tumbles rapidly toward the starship. The tiny Falcon banks to avoid the giant asteroid as smaller rocks pelt its surface. Then the small craft roars under the asteroid which explodes harmlessly on the hull of the vast Star Destroyer.", "INT. MILLENNIUM FALCON - COCKPIT The ship shudders as flak explodes near the cockpit window. Threepio checks a tracking scope an the side control panel while Leia watches tensely out the window. THREEPIO Oh, thank goodness we're coming out of the asteroid field. Chewie barks excitedly as the rain of asteroids begins to subside. A bolt from the Star Destroyer sets up a fiery explosion on the back side of the Falcon, causing it to lurch to one side.", "EXT. MILLENNIUM FALCON - STAR DESTROYER, AVENGER - ASTEROID FIELD The Falcon is hit hard by another bolt from the Star Destroyer which creates a huge explosion near the cockpit of the smaller ship. The Falcon tilts steeply, then rights itself.", "INT. MILLENNIUM FALCON - COCKPIT Han corrects the angle of his ship. HAN Let's get out of here. Ready for light - speed? One. two. three! Han pulls back on the hyperspace throttle and - nothing happens. Flak bursts continue to rock the ship. HAN -LRB- frantic. -RRB- It's not fair! Chewie is very angry and starts to growl and bark at his friend and captain. Again, Han desperately pulls back on the throttle. HAN The transfer circuits are working. It's not my fault! Chewie puts his head in his hands, whining. LEIA -LRB- almost expecting it. -RRB- No light - speed? HAN It's not my fault. THREEPIO Sir, we just lost the main rear deflector shield. One more direct hit on the back quarter and we're done for. Han pauses for a moment, makes a decision, and pulls back on a lever. HAN Turn her around. Chewie barks in puzzlement. HAN I said turn her around! I'm going to put all power in the front shield. LEIA You're going to attack them?! THREEPIO Sir, the odds of surviving a direct assault on an Imperial Star Destroyer. LEIA Shut up!", "EXT. SPACE - MILLENNIUM FALCON - ASTEROID FIELD The Falcon banks, makes a steep, twisting turn. In the next moment it is racing toward the Star Destroyer, looking very small against the massive surface of the Imperial ship. As it moves across the surface of the Star Destroyer, the Falcon bobs and weaves to avoid the numerous flak bursts.", "INT. STAR DESTROYER, AVENGER - BRIDGE The tiny Falcon heads directly for the Avenger's bridge. The Imperials stationed there are stunned to see the small spaceship racing low across the hull, headed directly at the huge windows of the bridge area. Alarms go off everywhere. The Destroyer's commander, Captain Needa, can scarcely believe his eyes. NEEDA They're moving to attack position! Shields up! Needa and his men duck as the Falcon nears the bridge window. At the last minute, the Falcon veers off and out of sight. All is quiet. NEEDA Track them. They may come around for another pass. TRACKING OFFICER Captain Needa, the ship no longer appears on our scopes. NEEDA They ca n't have disappeared. No ship that small has a cloaking device. TRACKING OFFICER Well, there's no trace of them, sir. COMMUNICATIONS OFFICER Captain, Lord Vader demands an update on the pursuit. NEEDA -LRB- drawing a breath. -RRB- Get a shuttle ready. I shall assume full responsibility for losing them, and apologize to Lord Vader. Meanwhile, continue to scan the area. COMMUNICATIONS OFFICER Yes, Captain Needa.", "EXT. DAGOBAH - BOG - DAY Luke's face is upside - down and showing enormous strain. He stands on his hands, with Yoda perched on his feet. Opposite Luke and Yoda are two rocks the size of bowling balls. Luke stares at the rocks and concentrates. One of the rocks lifts from the ground and floats up to rest on the other. YODA Use the Force. Yes. Yoda taps Luke's leg. Quickly, Luke lifts one hand from the ground. His body wavers, but he maintains his balance. Artoo, standing nearby, is whistling and beeping frantically. YODA Now. the stone. Feel it. Luke concentrates on trying to lift the top rock. It rises a few feet, shaking under the strain. But, distracted by Artoo's frantic beeping, Luke loses his balance and finally collapses. Yoda jumps clear. YODA Concentrate! Annoyed at the disturbance, Luke looks over at Artoo, who is rocking urgently back and forth in front of him. Artoo waddles closer to Luke, chirping wildly, then scoots over the edge of the swamp. Catching on, Luke rushes to the water's edge. The X - wing fighter has sunk, and only the tip of its nose shows above the lake's surface. LUKE Oh, no. We'll never get it out now. Yoda stamps his foot in irritation. YODA So certain are you. Always with you it can not be done. Hear you nothing that I say? Luke looks uncertainly out at the ship. LUKE Master, moving stones around is one thing. This is totally different. YODA No! No different! Only different in your mind. You must unlearn what you have learned. LUKE -LRB- focusing, quietly. -RRB- All right, I'll give it a try. YODA No! Try not. Do. Or do not. There is no try. Luke closes his eyes and concentrates on thinking the ship out. Slowly, the X - wing's nose begins to rise above the water. It hovers for a moment and then slides back, disappearing once again. LUKE -LRB- panting heavily. -RRB- I ca n't. It's too big. YODA Size matters not. Look at me. Judge me by my size, do you? Hm? Mmmm. Luke shakes his head. YODA And well you should not. For my ally in the Force. And a powerful ally it is. Life creates it, makes it grow. Its energy surrounds us and binds us. Luminous beings are we. -LRB- Yoda pinches Luke's shoulder. -RRB-. not this crude matter. -LRB- a sweeping gesture. -RRB- You must feel the Force around you. -LRB- gesturing. -RRB- Here, between you. me. the tree. the rock. everywhere! Yes, even between this land and that ship! LUKE -LRB- discouraged. -RRB- You want the impossible. Quietly Yoda turns toward the X - wing fighter. With his eyes closed and his head bowed, he raises his arm and points at the ship. Soon, the fighter rises above the water and moves forward as Artoo beeps in terror and scoots away. The entire X - wing moves majestically, surely, toward the shore. Yoda stands on a tree root and guides the fighter carefully down toward the beach. Luke stares in astonishment as the fighter settles down onto the shore. He walks toward Yoda. LUKE I do n't. I do n't believe it. YODA That is why you fail. Luke shakes his head, bewildered.", "EXT. SPACE - IMPERIAL FLEET The fleet around Vader's Star Destroyer now includes Needa's Star Destroyer, the Avenger.", "INT. VADER'S STAR DESTROYER - BRIDGE VADER Apology accepted, Captain Needa. Clutching desperately at his throat, Captain Needa slumps down, then falls over on his back, at the feet of Darth Vader. Two stormtroopers pick up the lifeless body and carry it quickly away as Admiral Piett and two of his captains hurry up to the Dark Lord. PIETT Lord Vader, our ships have completed their scan of the area and found nothing. If the Millennium Falcon went into light - speed, it'll be on the other side of the galaxy by now. VADER Alert all commands. Calculate every possible destination along their last know trajectory. PIETT Yes, my lord. We'll find them. VADER Do n't fail me again, Admiral. Vader exits as the admiral turns to an aide, a little more uneasy than when he arrived. PIETT Alert all commands. Deploy the fleet.", "EXT. SPACE - IMPERIAL FLEET Vader's ship moves away, flanked by its fleet of smaller ships. the Avenger glides off into space in the opposite direction. No one on that ship or on Vader's is aware that, clinging to the side of the Avenger, is the pirateship, the Millennium Falcon.", "INT. MILLENNIUM FALCON - COCKPIT THREEPIO Captain Solo, this time you have gone too far. -LRB- Chewie growls. -RRB- No, I will not be quiet, Chewbacca. Why does n't anyone listen to me? HAN -LRB- to Chewie. -RRB- The fleet is beginning to break up. Go back and stand by the manual release for the landing claw. Chewie barks, struggles from his seat, and climbs out of the cabin. THREEPIO I really do n't see how that is going to help. Surrender is a perfectly acceptable alternative in extreme circumstances. The Empire may be gracious enough. Leia reaches over and shuts off Threepio, mid - sentence. HAN Thank you. LEIA What did you have in mind for your next move? HAN Well, if they follow standard Imperial procedure, they'll dump their garbage before they go to light - speed, then we just float away. LEIA With the rest of the garbage. Then what? HAN Then we've got to find a safe port somewhere around here. Got any ideas? LEIA No. Where are we? HAN The Anoat system. LEIA Anoat system. There's not much there. HAN No. Well, wait. This is interesting. Lando. He points to a computer mapscreen on the control panel. Leia slips out of her chair and moves next to the handsome pilot. Small light points representing several systems flash by on the computer screen. LEIA Lando system? HAN Lando's not a system, he's a man. Lando Calrissian. He's a card player, gambler, scoundrel. You'd like him. LEIA Thanks. HAN Bespin. It's pretty far, but I think we can make it. LEIA -LRB- reading from the computer. -RRB- A mining colony? HAN Yeah, a Tibanna gas mine. Lando conned somebody out of it. We go back a long way, Lando and me. LEIA Can you trust him? HAN No. But he has no love for the Empire, I can tell you that. Chewie barks over the intercom. Han quickly changes his readouts and stretches to look out the cockpit window. HAN -LRB- into intercom. -RRB- Here we go, Chewie. Stand by. Detach! Han leans back in his chair and gives Leia an invisible smile. She thinks for a moment, shakes her head ; a grin creeps across her face and she gives him a quick kiss. LEIA You do have your moments. Not many, but you have them.", "EXT. SPACE - IMPERIAL STAR DESTROYER As the Avenger Star Destroyer moves slowly into space, the hatch on its underbelly opens, sending a trail of junk behind it. Hidden among the refuse, the Falcon tumbles away. In the next moment, the Avenger roars off into hyperspace. The Falcon's engines are ignited, and it races off into the distance. Amidst the slowly drifting junk, Boba Fett's ship appears and moves after the Falcon.", "EXT. DAGOBAH - BOG - CLEARING - DAY In the clearing behind Yoda's house, Luke again stands upside - down, but his face shows less strain and more concentration than before. Yoda sits on the ground below the young warrior. On the other side of the clearing, two equipment cases slowly rise into the air. Nearby Artoo watches, humming to himself, when suddenly he, too, rises into the air. His little legs kick desperately and his head turns frantically, looking for help. YODA Concentrate. feel the Force flow. Yes. Good. Calm, yes. Through the Force, things you will see. Other places. The future. the past. Old friends long gone. Luke suddenly becomes distressed. LUKE Han! Leia! The two packing boxes and Artoo fall to the ground with a crash, then Luke himself tumbles over. YODA -LRB- shaking his head. -RRB- Hmm. Control, control. You must learn control. LUKE I saw. I saw a city in the clouds. YODA Mmm. Friends you have there. LUKE They were in pain. YODA It is the future you see. LUKE Future? Will they die? Yoda closes his eyes and lowers his head. YODA Difficult to see. Always in motion is the future. LUKE I've got to go to them. YODA Decide you must how to serve them best. If you leave now, help them you could. But you would destroy all for which they have fought and suffered. Luke is stopped cold by Yoda's words. Gloom shrouds him as he nods his head sadly.", "EXT. BESPIN SYSTEM - MILLENNIUM FALCON - DAWN The powerful pirate starship blasts through space as it heads toward the soft pink planet of Bespin.", "EXT. BESPIN SURFACE - MILLENNIUM FALCON It is down on the gaseous planet. Huge billowing clouds form a canyon as the ship banks around them, heading toward the system's Cloud City. Suddenly, two twin - pod cloud cars appear and move toward the Falcon. The cloud cars draw up alongside the starship.", "INT. MILLENNIUM FALCON - COCKPIT One of the cloud cars opens fire on the Falcon, its flak rocking the ship. Chewie barks his concern. HAN -LRB- into transmitter. -RRB- No, I do n't have a landing permit. I'm trying to reach Lando Calrissian. More flak bursts outside the cockpit window and rattles the ship's interior. Leia looks worried. HAN -LRB- into transmitter. -RRB- Whoa! Wait a minute! Let me explain. INTERCOM VOICE You will not deviate from your present course. THREEPIO Rather touchy, are n't they? LEIA I thought you knew this person. Chewie barks and growls at his boss. HAN -LRB- to Chewie. -RRB- Well, that was a long time ago. I'm sure he's forgotten about that. INTERCOM VOICE Permission granted to land on Platform Three - two - seven. HAN -LRB- into transmitter. -RRB- Thank you. Angry, Han snaps off the intercom. Chewie looks at him and grunts. Han turns to the worried princess and her droid. HAN There's nothing to worry about. We go way back, Lando and me. Leia does n't look convinced. LEIA Who's worried?", "EXT. CLOUD CITY - MILLENNIUM FALCON - CLOUD CARS The clouds part to reveal a full view of the city as it bobs in and out of the cloud surface. The cloud cars and the Falcon head for the gleaming white metropolis.", "EXT. CLOUD CITY - LANDING PLATFORM - MILLENNIUM FALCON With the cloud cars still guarding it, the Falcon lands on one of the Cloud City's platforms.", "EXT. LANDING PLATFORM - DOOR OF MILLENNIUM FALCON Han and Leia stand at the open door, armed. Behind them, Chewie, also armed, surveys the scene warily. THREEPIO Oh. No one to meet us. LEIA I do n't like this. HAN Well, what would you like? THREEPIO Well, they did let us land. HAN Look, do n't worry. Everything's going to be fine. Trust me.", "INT. CLOUD CITY - CORRIDOR - DAY Lando Calrissian, a suave, dashing black man in his thirties, leads a group of aides and some Cloud City guard rapidly toward the landing platform. The group, like the other citizens of the city, is a motley collection of aliens, droids, and humans of all descriptions. Lando has a grim expression on his face as he moves onto the landing platform.", "EXT. LANDING PLATFORM - DOOR OF MILLENNIUM FALCON HAN See? My friend. -LRB- to Chewie. -RRB- Keep your eyes open, okay? Chewie growls as Han walks down the ramp. Lando and his men head across the bridge to meet the space pirate.", "EXT. CLOUD CITY - LANDING PLATFORM Lando stops ten feet from Han. The two men eye each other carefully. Lando shakes his head. LANDO Why, you slimy, double - crossing, no - good swindler! You've got a lot of guts coming here, after what you pulled. Han points to himself innocently, mouthing, `` Me?'' Lando moves threateningly toward Han. Suddenly, he throws his arms around his startled, long - lost friend and embraces him. LANDO -LRB- laughs. -RRB- How you doing, you old pirate? So good to see you! I never thought I'd catch up with you again. Where you been? The two old friends embrace, laughing and chuckling.", "EXT. LANDING PLATFORM - DOOR OF MILLENNIUM FALCON. THREEPIO Well, he seems very friendly. LEIA -LRB- wary. -RRB- Yes. very friendly.", "EXT. CLOUD CITY - LANDING PLATFORM LANDO What are you doing here? HAN -LRB- gestures toward the Falcon. -RRB- Ahh. repairs. I thought you could help me out. LANDO -LRB- in mock panic. -RRB- What have you done to my ship? HAN Your ship? Hey, remember, you lost her to me fair and square. Chewie growls a reserved greeting. Lando suddenly notices the princess and smiles. LANDO Hello. What have we here? Welcome. I'm Lando Calrissian. I'm the administrator of this facility. And who might you be? LEIA Leia. LANDO Welcome, Leia. Lando bows before Leia and kisses her hand. HAN All right, all right, you old smoothie. Han takes Leia by the hand and steers her away from Lando. THREEPIO Hello, sir. I am See - Threepio, human - cyborg relations. My facilities are at your. Before Threepio can finish his self - introduction, Lando has turned to follow Han and Leia, who are walking toward the city. THREEPIO Well, really! Lando, his aide, Lobot, and Han lead the way across the bridge, followed by Threepio, Chewie and Leia. LANDO What's wrong with the Falcon? HAN Hyperdrive. LANDO I'll get my people to work on it. HAN Good. Lando turns to Leia. LANDO You know, that ship saved my life quite a few times. She's the fastest hunk of junk in the galaxy.", "INT. CLOUD CITY - CORRIDOR The group has crossed the narrow bridge and entered the city. They walk down the lovely Art Deco passageway, rounding several corners and passing many small plazas as they go. Threepio lags a bit behind. HAN How's the gas mine? Is it paying off for you? LANDO Oh, not as well as I'd like. We're a small outpost and not very self - sufficient. And I've had supply problems of every kind. I've had labor difficulties. -LRB- catches Han grinning at him. -RRB- What's so funny? HAN You. Listen to you - you sound like a businessman, a responsible leader. Who'd have thought that, huh? Lando is reflective. He looks at Han a moment. LANDO You know, seeing you sure brings back a few things. HAN Yeah. LANDO -LRB- shakes his head. -RRB- Yeah. I'm responsible these days. It's the price you pay for being successful. Han and Lando laugh together, and the group moves on through the corridor. The lagging Threepio passes a Threepio - type silver droid who is coming out of a door. THREEPIO Oh! Nice to see a familiar face. SECOND THREEPIO -LRB- mumbles. -RRB- E chu ta! THREEPIO How rude! Threepio stops, watching the silver droid move away. Then he hears the muffled beeping and whistling of an R2 unit coming from within the room.", "INT. CLOUD CITY - ANTEROOM Curious, Threepio enters the room. THREEPIO That sounds like an R2 unit in there. I wonder if. Threepio walks through the doorway to the main room. He looks in. THREEPIO Hello? How interesting. Oh, my. MAN'S VOICE -LRB- from within. -RRB- Who are you? THREEPIO Oh, I'm terribly sorry. I. I did n't mean to intrude. No, no, please do n't get up. No! A laser bolt to Threepio's chest sends him flying in twenty directions. Smoldering mechanical arms and legs bounce off the walls as the door whooshes closed behind him.", "INT. CLOUD CITY - CORRIDOR Lando, Han, and Leia continue down the corridor unaware of Threepio's dreadful accident. Chewbacca glances around, sniffs the air, but shrugs his shoulders and follows the group.", "EXT. DAGOBAH - BOG - DUSK In the bright lights of the fighter, Luke loads a heavy case into the belly of the ship. Artoo sits on top of the X - wing, settling down into his cubbyhole. Yoda stands nearby on a log. YODA Luke! You must complete the training. LUKE I ca n't keep the vision out of my head. They're my friends. I've got to help them. YODA You must not go! LUKE But Han and Leia will die if I do n't. BEN'S VOICE You do n't know that. Luke looks toward the voice in amazement. Ben has materialized as a real, slightly shimmering image near Yoda. The power of his presence stops Luke. BEN Even Yoda can not see their fate. LUKE But I can help them! I feel the Force! BEN But you can not control it. This is a dangerous time for you, when you will be tempted by the dark side of the Force. YODA Yes, yes. To Obi - Wan you listen. The cave. Remember your failure at the cave! LUKE But I've learned so much since then. Master Yoda, I promise to return and finish what I've begun. You have my word. BEN It is you and your abilities the Emperor wants. that is why your friends are made to suffer. LUKE And that is why I have to go. BEN Luke, I do n't want to lose you to the Emperor the way I lost Vader. LUKE You wo n't. YODA Stopped they must be. On this all depends. Only a fully trained Jedi Knight with the Force as his ally will conquer Vader and his Emperor. If you end your training now, if you choose the quick and easy path, as Vader did, you will become an agent of evil. BEN Patience. LUKE And sacrifice Han and Leia? YODA If you honor what they fight for. yes! Luke is in great anguish. He struggles with the dilemma, a battle raging in his mind. BEN If you choose to face Vader, you will do it alone. I can not interfere. LUKE I understand. -LRB- he moves to his X - wing. -RRB- Artoo, fire up the converters. Artoo whistles a happy reply. BEN Luke, do n't give in to hate - that leads to the dark side. Luke nods and climbs into his ship. YODA Strong is Vader. Mind what you have learned. Save you it can. LUKE I will. And I'll return. I promise. Artoo closes the cockpit. Ben and Yoda stand watching as the roar of the engines and the wind engulf them. YODA -LRB- sighs. -RRB- Told you, I did. Reckless is he. Now matters are worse. BEN That boy is our last hope. YODA -LRB- looks up. -RRB- No. There is another.", "EXT. SPACE - PLANET DAGOBAH Luke's tiny X - wing rockets away from the green planet of Dagobah and off into space.", "INT. CLOUD CITY - LIVING QUARTERS - DAY Within the quarters assigned her on Cloud City, Leia paces in agitation. She has changed from her cold - weather pants and jacket to a lovely dress. Her hair is down, tied back with ribbons. She moves from a large, open window and turns to see Han entering through the doorway. HAN The ship is almost finished. Two or Three more things and we're in great shape. LEIA The sooner the better. Something's wrong here. No one has seen or knows anything about Threepio. He's been gone too long to have gotten lost. Han takes Leia by the shoulders and gently kisses her forehead. HAN Relax. I'll talk to Lando and see what I can find out. LEIA I do n't trust Lando. HAN Well, I do n't trust him, either. But he is my friend. Besides, we'll soon be gone. LEIA And then you're as good as gone, are n't you? Not speaking, Han considers her words and gazes at her troubled face.", "INT. CLOUD CITY - JUNK ROOM The room is piled high with broken and discarded machine parts. Four Ugnaughts, small hoglike creatures, separate the junk and throw some pieces onto a conveyer belt which moves briskly toward a pit of molten metal. Pieces of Threepio's golden body move down the belt. Chewie enters the room and spots an Ugnaught picking up and inspecting Threepio's head. The Wookiee barks a command, startling the Ugnaught, then reaches to grab the head. But the Ugnaught tosses it away from him to another Ugnaught. This game of keep - away goes on until Threepio's head falls from their grip and bounces with a clang onto the ground.", "INT. CLOUD CITY - LIVING QUARTERS - DAY The door zaps open. Chewbacca walks in, carrying a packing case of Threepio, arms and legs hanging over the edge. LEIA What happened? Chewie sets the case on a table, grunting and groaning an explanation. HAN Where? Found him in a junk pile? LEIA Oh, what a mess. Chewie, do you think you can repair him? The giant Wookiee studies the array of robot parts. He looks at the princess and shrugs sadly. HAN Lando's got people who can fix him. LEIA No, thanks. There is a buzz and the door slides open, revealing Lando. LANDO I'm sorry. Am I interrupting anything? LEIA Not really. LANDO You look absolutely beautiful. You truly belong here with us among the clouds. LEIA -LRB- coolly. -RRB- Thank you. LANDO Will you join me for a little refreshment? Han looks at Lando suspiciously, but Chewie barks at the mention of food and licks his lips. LANDO Everyone's invited, of course. Leia takes Lando's proffered arm, and the group turns to go. Lando spots Threepio's remains. LANDO Having trouble with you droid? Han and Leia exchange a quick glance. HAN No. No problem. Why? Han and Leia move arm - in - arm through the door, followed by Lando and Chewie. The door slides closed behind them.", "INT. CLOUD CITY - CORRIDOR - DAY Leia walks between Han and Lando as Chewie follows a short distance behind. Long shafts of light pour across the corridor between tall, pure - white columns. LANDO So you see, since we're a small operation, we do n't fall into the. uh. jurisdiction of the Empire. LEIA So you're part of the mining guild then? LANDO No, not actually. Our operation is small enough not to be noticed. which is advantageous for everybody since our customers are anxious to avoid attracting attention to themselves. The group walks into another corridor and heads for a huge doorway at the far end. HAN Are n't you afraid the Empire's going to find out about this little operation and shut you down? LANDO That's always been a danger looming like a shadow over everything we've built here. But things have developed that will insure security. I've just made a deal that will keep the Empire out of here forever.", "INT. CLOUD CITY - DINING ROOM The mighty doors to the dining room slide open and the group enters the dining room. At the far end of a huge banquet table sits Darth Vader. Standing at his side and slightly behind him is Boba Fett, the bounty hunter. Faster than the wink of an eye, Han draws his blaster and pops off a couple of shots directly at Vader. The Dark Lord quickly raises his hand, deflecting the bolts into one of the side walls, where they explode harmlessly. Just as quickly, Han's weapon zips into Vader's hand. The evil presence calmly places the gun on the table in front of him. VADER We would be honored if you would join us. Han gives Lando a mean look. LANDO I had no choice. They arrived right before you did. I'm sorry. HAN I'm sorry, too.", "EXT. LUKE'S X-WING - BESPIN SYSTEM Luke's X - wing races through thick clouds toward Cloud City.", "INT. LUKE'S X-WING - COCKPIT Luke is grim - faced as he pilots his course toward Bespin's shining city. Artoo's beeps and whistles are transmitted onto the scope. LUKE -LRB- into comlink. -RRB- No, Threepio's with them. Artoo whistles another worried inquiry. LUKE -LRB- into comlink. -RRB- Just hang on. We're almost there.", "INT. CLOUD CITY - LARGE CELL Chewbacca is in a Cloud City prison cell. The stark room is flooded with hot light. To add to Chewie's misery, a high - pitched whistle screeches loudly. Chewie is going mad. He hits the wall with giant fists as he paces back and forth across the cell floor. The upper lights go off abruptly. The prisoner rubs his eyes and moves to a wall, where he listens for a moment. Then, moaning to himself, he moves to a platform where the disassembled pieces of Threepio lie. He picks up the golden droid's head and meditates on it for a moment, barking a few philosophical remarks. Chewie sticks the robot's head on its torso and starts adjusting wires and circuits. Suddenly, the lights in Threepio's eyes spark to life as Chewie touches two connectors together. Threepio immediately begins to speak, but his voice is so slow and so low as to be nearly unintelligible. THREEPIO Mmmm. Oh, my. Uh, I, uh - Take this off! I, uh, do n't mean to intrude here. I, do n't, no, no, no. Please do n't get up. No! Chewie looks at Threepio in bewilderment, then scratches his furry head. He gets an idea and adjusts some connections, whereupon Threepio immediately begins speaking normally. THREEPIO Stormtroopers? Here? We're in danger. I must tell the others. Oh, no! I've been shot!", "INT. CLOUD CITY - PRISON ENTRY AREA Darth Vader strides through the room as two stormtroopers prepare an elaborate torture mechanism. Han is strapped to a rack which tilts forward onto the torture device. Vader activates the mechanism, creating two bursts of sparks, one of which strikes Han's face. The door opens, and Vader leaves the torture room just as Han screams a sharp, piercing cry of agony. Darth Vader moves to the holding chamber, where Lando and Boba Fett await him.", "INT. CLOUD CITY - HOLDING CHAMBER LANDO Lord Vader. VADER -LRB- to Fett. -RRB- You may take Captain Solo to Jabba the Hut after I have Skywalker. Han's screams filter through the torture room door. BOBA FETT He's no good to me dead. VADER He will not be permanently damaged. LANDO Lord Vader, what about Leia and the Wookiee? VADER They must never again leave this city. LANDO That was never a condition of our agreement, nor was giving Han to this bounty hunter! VADER Perhaps you think you're being treated unfairly. LANDO No. VADER Good. It would be unfortunate if I had to leave a garrison here. Vader turns and sweeps into the elevator with Boba Fett. Lando walks swiftly down another corridor, muttering to himself. LANDO This deal's getting worse all the time.", "INT. CLOUD CITY - LARGE CELL Chewie now has a little more of Threepio back together. One arm is connected, but the legs are yet to be attached. There is one small problem, however. It seems the Wookiee has managed to put the droid's head on backwards. THREEPIO Oh, yes, that's very good. I like that. Oh! Something's not right because now I ca n't see. Wait. Wait! Oh, my! what have you done? I'm backwards, you stupid furball. Only an overgrown mophead like you would be stupid enough. Threepio is cut off in mid - sentence as Chewie angrily deactivates a circuit and the droid shuts down. The Wookiee smells something and sits up. The door to the chamber slides open and a ragged Han Solo is shoved into the room by two stormtroopers. Barking his concern, the huge Wookiee gives Han a big hug. Han is very pale, with dark circles under his eyes. HAN I feel terrible. Chewie helps Han to a platform and then turns as the door slides open revealing Leia. She, too, looks a little worse for wear. The troopers push her into the cell, and the door slides closed. She moves to Han, who is lying on the platform, and kneels next to him, gently stroking his head. LEIA Why are they doing this? HAN They never even asked me any questions. The cell door slides open. Lando and two of his guards enter. LEIA Lando. HAN Get out of here, Lando! LANDO Shut up and listen! Vader has agreed to turn Leia and Chewie over to me. HAN Over to you? LANDO They'll have to stay here, but at least they'll be safe. LEIA What about Han? LANDO Vader's giving him to the bounty hunter. LEIA Vader wants us all dead. LANDO He does n't want you at all. He's after somebody called Skywalker. HAN Luke? LANDO Lord Vader has set a trap for him. Leia's mind is racing. LEIA And we're the bait. LANDO Well, he's on his way. Han's rage peaks. HAN Perfect. You fixed us all pretty good, did n't you? -LRB- spits it out. -RRB- My friend! Han hauls off and punches Lando. The two friends are instantly engaged in a frantic close - quarters fight. The guards hit Han with their rifle butts and he flies across the room. Chewie growls and starts for the guards. They point their laser weapons at the giant Wookiee, but Lando stops them. LANDO Stop! I've done all I can. I'm sorry I could n't do better, but I have my own problems. HAN Yeah, you're a real hero. Lando and the guards leave. Han wipes the blood from his chin as Leia and Chewie help him up. LEIA -LRB- dabs at his wound. -RRB- You certainly have a way with people.", "INT. CLOUD CITY - CARBON-FREEZING CHAMBER Four armor - suited stormtroopers stand at the ready in the large chamber, which is filled with pipes and chemical tanks. In the middle of the room is a round pit housing a hydraulic platform. Darth Vader and Lando stand near the platform. VADER This facility is crude, but it should be adequate to freeze Skywalker for his journey to the Emperor. An Imperial soldier appears. IMPERIAL SOLDIER Lord Vader, ship approaching. X - wing class. VADER Good. Monitor Skywalker and allow him to land. The soldier bows and leaves the chamber. LANDO Lord Vader, we only use this facility for carbon freezing. If you put him in there, it might kill him. VADER I do not want the Emperor's prize damaged. We will test it. on Captain Solo. Lando's face registers dismay.", "EXT. SPACE - BESPIN SYSTEM - LUKE'S X-WING Luke's X - wing moves through the clouds as it nears the city.", "INT. LUKE'S X-WING - COCKPIT Encountering no city guards, Luke scans the display panel with concern.", "INT. CLOUD CITY - CARBON-FREEZING CHAMBER There is a great activity on the carbon - freezing platform. Six Ugnaughts frantically prepare the chamber for use. A special coffinlike container is put in place. With Boba Fett in the lead, a squad of six stormtroopers brings in Han, Leia and Chewie. Strapped to Chewie's back, with only his head, torso, and one arm assembled, is Threepio. Threepio's head faces the opposite direction from Chewie's and the droid is constantly twisting around in a vain effort to see what is happening. His one attached arm is animate and expressive, intermittently pointing, gesturing, and covering his eyes. The remaining pieces of his body are randomly bundled to the Wookiee's back so that his legs and other arm stick out at odd angles from the pack. THREEPIO If only you had attached my legs, I would n't be in this ridiculous position. Now, remember, Chewbacca, you have a responsibility to me, so do n't do anything foolish. HAN -LRB- to Lando. -RRB- What's going on. buddy? LANDO You're being put into carbon freeze. Boba Fett moves away from the group to Darth Vader. BOBA FETT What if he does n't survive? He's worth a lot to me. VADER The Empire will compensate you if he dies. Put him in! Realizing what is about to happen, Chewie lets out a wild howl and attacks the stormtroopers surrounding Han. Within seconds, other Imperial reinforcements join the scuffle, clubbing the giant Wookiee with their laser weapons. From the instant of Chewie's first move, Threepio begins to scream in panic while he tries to protect himself with his one arm. THREEPIO Oh, no! No, no, no! Stop, Chewbacca, stop! The stormtroopers are about to bash Chewie in the face. HAN Stop, Chewie, stop! Do you hear me? Stop! THREEPIO Yes, stop, please! I'm not ready to die. Han breaks away from his captors. Vader nods to the guards to let him go and the pirate breaks up the fight. HAN Chewie! Chewie, this wo n't help me. Hey! Han gives the Wookiee a stern look. HAN Save your strength. There'll be another time. The princess - you have to take care of her. You hear me? Han winks at the Wookiee, who wails a doleful farewell. In a flash the guards have slipped binders on Chewbacca, who is too distraught to protest. Han turns to Princess Leia. They look sorrowfully at one another, then Han moves toward her and gives her a final, passionate kiss. LEIA I love you! HAN I know. Tears roll down Leia's face as she watches the dashing pirate walk to the hydraulic platform. Han looks one final time at his friends - and then, suddenly, the platform drops. Chewie howls. Leia turns away in agony. Lando winces in sorrow ; it makes a life - changing impression on him. Instantly, fiery liquid begins to pour down in a shower of sparks and fluid as great as any steel furnace. Holding Leia, Chewie half - turns away from the sight, giving Threepio a view of the procedure. THREEPIO What. what's going on? Turn round, Chewbacca, I ca n't see. Oh. they've encased him in carbonite. He should be quite well - protected - if he survives the freezing process, that is. Chewie is in no mood for technical discussion ; he gives the droid an angry glance and bark. A huge mechanical tong lifts the steaming metal - encased space pirate out of the vat and stands him on the platform. Some Ugnaughts rush over and push the block over onto the platform. They slide the coffinlike structure to the block and lift the metal block, placing it inside. They then attach an electronic box onto the structure and step away. Lando kneels and adjusts some knobs, measuring the heat. He shakes his head in relief. VADER Well, Calrissian, did he survive? LANDO Yes, he's alive. And in perfect hibernation. Vader turns to Boba Fett. VADER He's all yours bounty hunter. Reset the chamber for Skywalker. IMPERIAL OFFICER Skywalker has just landed, my lord. VADER Good. See to it that he finds his way here. Calrissian, take the princess and the Wookiee to my ship. LANDO You said they'd be left in the city under my supervision. VADER I am altering the deal. Pray I do n't alter it any further. Lando's hand instinctively goes to his throat as he turns to Leia, Chewie, and Threepio.", "INT. CLOUD CITY - CORRIDOR - DAY As Luke and Artoo move carefully down a deserted corridor, they hear a group of people coming down a side hallway. Artoo lets out an excited series of beeps and whistles. Luke glares at the tiny droid, who stops in his tracks with a feeble squeak. Boba Fett enters from a side hallway followed by two guards pushing the floating, encased body of Han Solo. Two stormtroopers, who follow, immediately spot Luke and open fire on him. The youth draws his weapon and blasts the two troopers before they can get off a second shot. The two guards whisk Han into another hallway as Fett lowers his arm and fires a deadly laser at Luke, which explodes to one side and tears up a huge chunk of wall. Luke rushes to a side hallway, but by the time he reaches it, Fett, Han, and the guards are gone. A think metal door blocks the passage. Luke turns to see Leia, Chewie, Threepio, and Lando being herded down a second hallway by several other stormtroopers. Leia turns just in time to see Luke. LEIA Luke! Luke, do n't - it's a trap! It's a trap! Before she can finish, she is pulled through a doorway and disappears from sight. Luke races after the group, leaving little Artoo trailing behind.", "INT. CLOUD CITY - ANTEROOM Luke runs into an anteroom and stops to get his bearings. Leia and the others are nowhere to be seen. Behind Luke, Artoo scoots down the corridor toward the anteroom when suddenly a giant metal door comes slamming down, cutting off Luke's exit. Several more doors clang shut, echoing through the chamber.", "INT. CLOUD CITY - HALLWAY LEADING TO ANTEROOM Artoo stands with his nose pressed against the giant metal door. He whistles a long sigh of relief and, a little dazed, wanders off in the other direction.", "INT. CLOUD CITY - CARBON-FREEZING CHAMBER - ANTEROOM Luke cautiously walks forward among hissing pipes and steam. Seeing an opening above him, he stops to look up. As he does, the platform he stands on begins to move.", "INT. CLOUD CITY - CARBON-FREEZING CHAMBER Luke rises into the chamber, borne by the platform. The room is deathly quiet. Very little steam escapes the pipes and no one else seems to be in the large room. Warily, Luke walks toward the stairway. Steam begins to build up in the chamber. Looking up through the steam, Luke sees a dark figure standing on a walkway above him. Luke holsters his gun and moves up the stairs to face Vader. He feels confident, eager to engage his enemy. VADER The Force is with you, young Skywalker. But you are not a Jedi yet. Luke ignites his sword in answer. In an instant, Vader's own sword is lit. Luke lunges, but Vader repels the blow. Again Luke attacks, and the swords of the two combatants clash in battle.", "INT. CLOUD CITY - CORRIDOR Leia, Lando, and Chewie, with Threepio on his back, march along, guarded by six stormtroopers. The group reaches an intersection where Lobot and a dozen of Lando's guards stand at attention. The guards immediately aim their weapons at the startled stormtroopers. Taking the stormtroopers' weapons from them, Lobot hands one to Leia and one to Lando. LANDO Well done. Hold them in the security tower - and keep it quiet. Move. As Lando's guards quickly march the stormtroopers away, Lando begins to undo Chewie's binding. LEIA What do you think you're doing? LANDO We're getting out of here. THREEPIO I knew all along it had to be a mistake. Chewie turns on Lando and starts to choke him. LEIA Do you think that after what you did to Han we're going to trust you? Lando tries to free himself from Chewie. LANDO -LRB- choking. -RRB- I had no choice. Chewie barks ferociously. THREEPIO -LRB- to Chewie. -RRB- What are you doing? Trust him, trust him! LEIA Oh, so we understand, do n't we, Chewie? He had no choice. LANDO I'm just trying to help. LEIA We do n't need any of your help. LANDO -LRB- choking. -RRB- H - a - a - a. LEIA What? THREEPIO It sounds like Han. LANDO There's still a chance to save Han. I mean, at the East Platform. LEIA Chewie. Chewie finally releases Lando, who fights to get his breath back. THREEPIO -LRB- to Lando. -RRB- I'm terribly sorry about all this. After all, he's only a Wookiee.", "EXT. CLOUD CITY - EAST LANDING PLATFORM - BOBA FETT'S SHIP The two guards slide Han's encased body into an opening in the side of the bounty hunter's ship. Boba Fett climb aboard on a ladder next to the cargo hold. BOBA FETT Put Captain Solo in the cargo hold. And with that, the door slams shut.", "INT. CLOUD CITY - CORRIDOR Lando, Leia, and Chewie run down a Cloud City corridor when suddenly they spot Artoo who rushes toward them, beeping wildly. THREEPIO Artoo! Artoo! Where have you been? Chewie turns around to see the stubby droid, causing Threepio to be spun out of sight of his friend. THREEPIO Turn around, you wooly! -LRB- to Artoo. -RRB- Hurry, hurry! We're trying to save Han from the bounty hunter! Whistling frantically to Threepio, Artoo scoots along with the racing group. THREEPIO Well, at least your still in one piece! Look what happened to me!", "EXT. EAST LANDING PLATFORM - SIDE BAY An elevator door slides open and Lando, Leia, and Chewbacca race for a large bay overlooking the East Landing Platform. Just as they arrive, Boba Fett's ship takes off against a cloudy sunset sky. In wild anguish, Chewie howls and starts firing at the ship. THREEPIO Oh, no! Chewie, they're behind you! A laser bolt explodes near the princess. Everyone turns to see what Threepio has already spotted coming from the other direction ; a squad of stormtroopers running toward them. Artoo peeks out from the elevator. Leia and Chewbacca start firing at the troopers as Lando makes a break for the elevator. Laser bolts continue to explode around the princess and the Wookiee, but they refuse to budge. Lando sticks his head out of the elevator and motions for the pair to run, but they barely notice. They seem possessed, transported, as all the frustration of captivity and anger of loss pour through their death - dealing weapons. But after a few moments, they begin to move through the rain of laser fire toward the elevator. Once they are inside, the door slams shut and the stormtroopers race forward.", "INT. CLOUD CITY - CARBON-FREEZING CHAMBER Luke and Vader are locked in combat on the platform overlooking the chamber. Their swords clash, the platform sways. Luke aggressively drives Vader back, forcing Vader to use defensive tactics. VADER You have learned much, young one. LUKE You'll find I'm full of surprises. Vader makes two quick moves, hooking Luke's sword out of his hand and sending it flying. Another lightning move at Luke's feet forces the youth to jump back to protect himself. Losing his balance, Luke rolls down the stairs to the circular carbon - freezing platform. There he sprawls on the floor, surprised and shaken. Just in time he looks up to see Vader, like a giant black bird, flying right at him. Luke rolls away as Vader lands. Crouching, Luke keeps his gaze steadily on his enemy. VADER Your destiny lies with me, Skywalker. Obi - Wan knew this to be true. LUKE No! Behind Luke the hydraulic elevator cover has opened noiselessly. All the while, Luke slowly, cautiously moves back, away from the Dark Lord. Suddenly, Vader attacks so forcefully that Luke loses his balance and falls back into the opening. There is a rumble, and in an instant freezing steam rises to obscure Vader's vision. Vader turns aside and deactivates his sword. VADER All to easy. Perhaps you are not as strong as the Emperor thought. Through the steam behind Vader something blurs upward. Liquid metal begins to pour into the pit. Vader turns around - and then looks up. He sees Luke, who has leaped fifteen feet straight up and who now hangs from some hoses on the carbonite outlet. VADER Impressive. most impressive. Luke jumps down to the platform where he is separated from Vader by the steaming carbonite pit. He raises his hand. His sword, which had fallen on another part of the platform, swiftly jumps into his outstretched hand and is instantly ignited. Vader immediately lights his sword as well. VADER Obi - Wan has taught you well. You have controlled your fear. now release your anger. Luke is more cautious, controlling his anger. He begins to retreat as Vader goads him on. As Luke takes a defensive position, he realizes he has been foolhardy. A quick sword exchange and Luke forces Vader back. Another exchange and Vader retreats. Luke presses forward. VADER Only your hatred can destroy me. Breathing hard, Luke jumps in the air, turning a somersault over Vader. He lands on the floor and slashes at Vader as the room continues to fill up with steam. Vader retreats before Luke's skillful sword. Vader blocks the sword, but looses his balance and falls into the outer rim of pipes. The energy Luke has used to stop Vader has brought him to the point of collapse. Luke moves to the edge and looks down, but sees no sign of Vader. He then deactivates his sword, hooks it on his belt, and lowers himself into the pit.", "INT. CLOUD CITY - TUNNEL AND REACTOR CONTROL ROOM Moving through a tunnellike entrance, Luke cautiously approaches the reactor room. He ignites his sword and moves into the room and toward a large window as Vader enters. Luke raises his sword and moves forward to attack. Behind Luke a large piece of machinery detaches itself from the wall and comes smashing forward toward his back. Luke turns and cuts it in half just as another machine comes hurtling at him. Using the Force, Luke manages to deflect it and send it flying as if it had hit an invisible shield. A large pipe detaches and comes flying at Luke. He deflects it. Sparking wires pull out of the wall and begin to whip at the youth. Small tools and equipment come flying at him. Bombardment from all sides, Luke does his best to deflect everything, but soon he is bloodied and bruised. Finally, one machine glances off his and goes flying out the large window. A fierce wind blows into the room, unmoving, stands the dark, rocklike figure of Vader. A piece of machinery hits Luke and he is knocked out of the window.", "INT. GANTRY - OUTSIDE CONTROL ROOM - REACTOR SHAFT Luke falls onto the gantry, rolls, and hangs over the edge, holding his deactivated sword in hand. He puts the sword on his belt and begins to scramble up.", "INT. CLOUD CITY - CORRIDOR LEADING TO LANDING PLATFORM Leia, Lando, Chewie and the droids come round a corner and head for the door to the landing platform. They glimpse the Millennium Falcon for a moment before the door slams shut. The group ducks into an alcove as stormtroopers arrive at the end of the corridor. The troopers send a rain of laser bolts at the group. Chewie returns their fire as Lando punches desperately at the door's control panel. LANDO The security codes has been changed! THREEPIO Artoo, you can tell the computer to override the security system. Threepio points to a computer socket on the control panel. Artoo beeps and scoots toward it. Lando meanwhile has connected up to the panel's intercom. LANDO Attention! This is Lando Calrissian. The Empire has takes control of the city. I advise everyone to leave before more Imperial troops arrive. Artoo takes off a computer cover and sticks his computer arm into the socket. Suddenly, a short beep turns into a wild scream. Artoo's circuits light up, his head spins wildly, and smoke begins to seep out underneath him. Quickly, Chewie pulls him away. LANDO This way. Lando, Leia, Artoo, and Chewie flee down the corridor. As he scoots along with them, Artoo sends some angry beeps Threepio's way. THREEPIO Do n't blame me. I'm an interpreter. I'm not supposed to know a power socket from a computer terminal.", "INT. CLOUD CITY - CORRIDOR In a panic, Cloud City residents are trying to get out of the city. Some carry boxes, others packages. They run, then change direction. Some are shooting at stormtroopers, others simply try to hide. Other stormtroopers pursue Lando, Leia, and Chewie who are firing back at them. Artoo works on another door to the landing platform while Threepio berates him for his seeming ineptitude. THREEPIO What are you talking about? We're not interested in the hyperdrive on the Millennium Falcon. It's fixed! Just open the door, you stupid lump. Chewie, Leia, and Lando retreat along the corridor. A triumphant beep from Artoo - and the door snaps open. THREEPIO -LRB- to Artoo. -RRB- I never doubted you for a second. Wonderful! Artoo lays a cloud fog, obscuring everything, as the group dashes outside.", "EXT. LANDING PLATFORM - CLOUD CITY - DUSK They race for the Millennium Falcon as a battalion of stormtroopers reaches the main door. Lando and Leia hold off the troops as the droids get on board with Chewie. As Chewie bounds to the ship the Threepio on his back, Threepio hits his head on the top of the ramp. THREEPIO Ouch! Oh! Ah! That hurt. Bend down, you thoughtless. Ow! Chewie starts up the ship. The giant engines begin to whine as Lando and Leia race up the ramp under a hail of laser fire. LANDO Leia! Go!", "INT. MILLENNIUM FALCON - CORRIDOR Artoo drags the partially assembled Threepio down the corridor of the Falcon. THREEPIO I thought that hairy beast would be the end of me. Of course, I've looked better. Artoo beeps understandingly.", "INT. MILLENNIUM FALCON - COCKPIT Chewie works the controls as Leia sits in Han's seat and Lando watches over their shoulders. As Chewie pulls back on the throttle, the ship begins to move.", "EXT. CLOUD CITY - LANDING PLATFORM - DUSK The Millennium Falcon lifts gracefully into the twilight sky and roars away from the city. Troops fire after it and TIE fighters take off in pursuit.", "INT. GANTRY - OUTSIDE CONTROL ROOM - REACTOR SHAFT Luke moves along the railing and up to the control room. Vader lunges at him and Luke immediately raises his lit sword to meet Vader's. Sparks fly as they duel, Vader gradually forcing Luke backward toward the gantry. VADER You are beaten. It is useless to resist. Do n't let yourself be destroyed as Obi - Wan did. Luke answers by rolling sideways and thrusting his sword at Vader so viciously that he nicks Vader on the shoulder. The black armor sparks and smokes and Vader seems to be hurt, but immediately recovers. Luke backs off along the narrow end of the gantry as Vader comes at him, slashing at the young Jedi with his sword. Luke makes a quick move around the instrument complex attached to the end of the gantry. Vader's sword comes slashing down, cutting the complex loose ; it begins to fall, then is caught by the rising wind and blown upward. Luke glances at the instrument complex floating away. At that instant, Vader's sword comes down across Luke's right forearm, cutting off his hand and sending his sword flying. In great pain, Luke squeezes his forearm under his left armpit and moves back along the gantry to its extreme end. Vader follows. The wind subsides. Luke holds on. There is nowhere else to go. VADER There is no escape. Do n't make me destroy you. You do not yet realize your importance. You have only begun to discover your power. Join me and I will complete your training. With our combined strength, we can end this destructive conflict and bring order to the galaxy. LUKE I'll never join you! VADER If you only knew the power of the dark side. Obi - Wan never told you what happened to your father. LUKE He told me enough! It was you who killed him. VADER No. I am your father. Shocked, Luke looks at Vader in utter disbelief. LUKE No. No. That's not true! That's impossible! VADER Search your feelings. You know it to be true. LUKE No! No! No! VADER Luke. You can destroy the Emperor. He has foreseen this. It is your destiny. Join me, and together we can rule the galaxy as father and son. Come with me. It is the only way. Vader puts away his sword and holds his hand out to Luke. A calm comes over Luke, and he makes a decision. In the next instant he steps off the gantry platform into space. The Dark Lord looks over the platform and sees Luke falling far below. The wind begins to blow at Vader's cape and the torrent finally forces him back, away from the edge. The wind soon fades and the wounded Jedi begins to drop fast, unable to grab onto anything to break his fall.", "INT. REACTOR SHAFT Suddenly Luke is sucked into an exhaust pipe in the side of the shaft. When Vader sees this, he turns and hurries off the platform.", "INT. EXHAUST PIPE Luke tumbles through the exhaust pipe. He slides to the end of the slickly polished pipe and stops as his feet hit a circular grill and knock it open. Luke claws at the surface of the pipe, trying to keep from sliding out into space.", "EXT. BOTTOM OF CLOUD CITY - WEATHER VANE - DUSK Unable to hang onto the pipe, Luke tumbles out, emerging at the undermost part of Cloud City. Reaching out desperately, he manages to grab onto on electronic weather vane. LUKE Ben. Ben, please! Luke tries to pull himself up on the weather vane but slips back down. He hooks one of his legs around the fragile instruments. All the while, a powerful current of air rushes out at him from the exhaust pipe. LUKE Ben. Leia! There is an ominous cracking sound from the base of the weather vane and a piece breaks off, falling into the clouds far below. LUKE Hear me! Leia!", "INT. MILLENNIUM FALCON - COCKPIT Leia seems to be lost in a fog, her expression troubled. Chewie is busy operating the ship. Lando stands next to the Wookiee, watching a readout on the control panel. LEIA Luke. We've got to go back. Chewie growls in surprise. LANDO What? LEIA I know where Luke is. LANDO But what about those fighter? Chewie barks in agreement with Lando. LEIA Chewie, just do it. LANDO But what about Vader? Chewie turns on Lando, the newcomer, with an ominous growl. LANDO All right, all right, all right.", "EXT. CLOUD CITY - MILLENNIUM FALCON - DUSK The Falcon makes a graceful banking turn back toward Cloud City.", "EXT. CLOUD CITY - LANDING PLATFORM Vader enters the landing platform and watches as the speck that is the Falcon disappears. The wind blows at his cape. He turns to two aides who are standing near the entrance to the landing platform. VADER Bring my shuttle.", "EXT. BOTTOM OF CLOUD CITY - WEATHER VANE Nearly unconscious, Luke hangs upside - down on the weather vane as his body shifts in the wind.", "EXT. MILLENNIUM FALCON - BOTTOM OF CLOUD CITY The Falcon dives to the underside of the floating city. Three TIE fighter close in on the starship.", "INT. MILLENNIUM FALCON Leia tries to remain calm. LANDO -LRB- pointing out the cockpit window. -RRB- Look, someone's up there. LEIA It's Luke. Chewie, slow down. Slow down and we'll get under him. Lando, open the top hatch. Lando rushes out of the cockpit.", "EXT. BOTTOM OF CLOUD CITY - WEATHER VANE Luke hangs by one arm from the crossbar of the weather vane. He slips from the bar and grabs onto the pole of the vane as the Falcon banks toward him. The Falcon positions itself under Luke as Lando moves up through the opening of the hatch. Luke begins to slide and finally falls from the vane into space.", "INT. MILLENNIUM FALCON - COCKPIT Out the cockpit window, Leia sees Luke falling from the bottom of the city. The ship gains on him. LEIA Okay. Easy, Chewie. The Falcon closes in on Luke.", "EXT. BOTTOM OF CLOUD CITY Three TIE fighters race toward the Falcon, firing away.", "INT. MILLENNIUM FALCON - HATCH The hatch pops open with a hiss of pressure. Lando reaches out to help the battered warrior inside the ship.", "INT. MILLENNIUM FALCON - COCKPIT Flak bursts all around it as the Falcon banks away from the city. Leia and Chewie struggle with the controls. LEIA -LRB- into intercom. -RRB- Lando? LANDO -LRB- over intercom. -RRB- Okay, let's go.", "EXT. BOTTOM OF CLOUD CITY The Falcon races away. It is closely followed by three TIE fighters, all of which keep up a heavy laser assault on the fleeing starship.", "INT. MILLENNIUM FALCON - COCKPIT Explosions erupt all around the cockpit, buffeting the ship wildly. Chewie howls as he frantically tries to control the ship. Leia and Chewie turns to see Luke, bloody and battered, enter the cockpit supported by Lando. Leia jumps up and hugs him while Chewie barks in joyous relief. LUKE Oh, Leia. LANDO All right, Chewie. Let's go. Leia helps Luke from the cockpit as another huge blast rocks the ship.", "EXT. SPACE - CLOUD CITY - DAY The Falcon, still followed by the three TIE fighters, races away from the cloud - covered city.", "INT. MILLENNIUM FALCON - SLEEPING QUARTERS Luke rests on a cot, his injured arm wrapped in a protective cuff. Leia gently wipes his face. The ship lurches again. LEIA I'll be back. She kisses him, then leaves the quarters.", "INT. MILLENNIUM FALCON - COCKPIT All over the ship muted alarm buzzers sound. Lando anxiously watches the flashing lights on the control panel and hurriedly adjusts some switches. Seated next to him, Chewie points out a new blip appearing on the panel. Leia, watching over their shoulders, recognizes the shape. LEIA Star Destroyer. LANDO All right, Chewie. Ready for light - speed. LEIA If your people fixed the hyperdrive. Another explosion rocks the ship. Leia notices as a green light on the panel next to her flashes on. LEIA All the coordinates are set. It's now or never. Chewie barks in agreement. LANDO Punch it! The Wookiee shrugs and pulls back on the light - speed throttle. The sound of the ion engine changes. it is winding up. Faces are tense, expectant. But nothing happens, and the engine goes off. Chewie lets out a frustrated howl. The flak still violently rocks the ship. LANDO They told me they fixed it. I trusted them to fix it. It's not my fault! Chewie gets up from his chair and starts out of the cockpit. He gives Lando and angry shove as he storms past him.", "EXT. SPACE In the distance the TIE fighters continue their chase, still shooting lasers. Vader's Star Destroyer moves behind them, determinedly following the Falcon.", "INT. VADER'S STAR DESTROYER - BRIDGE Vader stands on the bridge looking out the window as Admiral Piett approaches him. PIETT They'll be in range of our tractor beam in moments, my lord. VADER Did your men deactivate the hyperdrive on the Millennium Falcon? PIETT Yes, my lord. VADER Good. Prepare the boarding party and set your weapons for stun. PIETT Yes, my lord.", "INT. MILLENNIUM FALCON Beeping while he works, Artoo is busy connecting some wires to Threepio who now has one leg attached. Chewie enters through the doorway, grunting to himself. THREEPIO Noisy brute. Why do n't we just go into light - speed? Artoo beeps in response. THREEPIO We ca n't? How would you know the hyperdrive is deactivated? Artoo whistles knowingly. THREEPIO The city's central computer told you? Artoo - Detoo, you know better than to trust a strange computer. Ouch! Pay attention to what you're doing! Chewie is in the pit. He is trying to loosen something with an enormous wrench. Frustrated, he uses the wrench like a club and hits the panel.", "INT. MILLENNIUM FALCON - COCKPIT Leia and Lando, seated in front of the control panel, are suddenly sprayed by a shower of sparks.", "INT. VADER'S STAR DESTROYER - BRIDGE Vader stands on the bridge, watching as the Millennium Falcon is chased by the TIE fighters. As his Destroyer draws nearer, Vader's breathing gets slightly faster. VADER Luke.", "INT. MILLENNIUM FALCON - SLEEPING QUARTERS Luke realizes that Vader's ship is very near. He feels resigned to his fate. He senses that he is beaten, more emotionally than physically. LUKE Father.", "INT. VADER'S STAR DESTROYER - BRIDGE VADER Son, come with me.", "INT. MILLENNIUM FALCON - SLEEPING QUARTERS LUKE -LRB- moaning. -RRB- Ben, why did n't you tell me?", "INT. MILLENNIUM FALCON - COCKPIT Lando and Leia are at the controls of the Falcon. Meanwhile, in the ship's hold, Chewie continues to work frantically on the hyperdrive mechanism. LANDO -LRB- into intercom. -RRB- Chewie!", "EXT. SPACE The Falcon races through space followed very closely by the TIE fighters and the huge Imperial Star Destroyer.", "INT. MILLENNIUM FALCON - COCKPIT Luke enters the cockpit and looks out the window. He is almost unconscious with pain and depression. LUKE It's Vader.", "INT. VADER'S STAR DESTROYER - BRIDGE VADER Luke. it is your destiny.", "INT. MILLENNIUM FALCON - COCKPIT LUKE Ben, why did n't you tell me?", "INT. VADER'S STAR DESTROYER - BRIDGE PIETT Alert all commands. Ready for the tractor beam.", "INT. MILLENNIUM FALCON - HOLD Artoo races to a control panel and starts working on a circuit board. Furious, Threepio stands on one leg, yelling. THREEPIO Artoo, come back at once! You have n't finished with me yet! You do n't know how to fix the hyperdrive. Chewbacca can do it. I'm standing here in pieces, and you're having delusions of grandeur! Artoo moves a circuit on a control panel. Suddenly, the control panel lights up.", "INT. MILLENNIUM FALCON - COCKPIT Leia and Lando are thrown into their seats as the Millennium Falcon unexpectedly shoot into hyperspace.", "INT. MILLENNIUM FALCON - HOLD The ship tilts up and Artoo topples into the pit on top of Chewie. THREEPIO Oh, you did it!", "EXT. SPACE The Falcon soars into infinity and away from the huge Star Destroyer which seems, by contrast, to stand still.", "INT. VADER'S STAR DESTROYER - BRIDGE Admiral Piett and another captain glance at Vader in terror. Vader turns slowly and walks off the bridge, his hands held behind his back in a contemplative gesture.", "EXT. SPACE - REBEL CRUISER The Millennium Falcon is attached to a huge Rebel cruiser by a docking tube. Rebel fighters move about the giant cruiser, and a Rebel transport ship hovers near the fleet.", "INT. MILLENNIUM FALCON - COCKPIT Lando sits in the pilot's seat as he talks into the comlink. Chewie busily throws a variety of switches in preparation for takeoff. LANDO -LRB- into comlink. -RRB- Luke, we're ready for takeoff. LUKE -LRB- over comlink. -RRB- Good luck, Lando LANDO -LRB- into comlink. -RRB- When we find Jabba the Hut and that bounty hunter, we'll contact you.", "INT. STAR CRUISER - MEDICAL CENTER Luke speaking into the comlink as a medical droid works on his hand. Leia stands near him while Threepio and Artoo look out the window. LUKE -LRB- into comlink. -RRB- I'll meet you at the rendezvous point on Tatooine.", "INT. MILLENNIUM FALCON - COCKPIT LANDO -LRB- into comlink. -RRB- Princess, we'll find Han. I promise.", "INT. STAR CRUISER - MEDICAL CENTER LUKE -LRB- into comlink. -RRB- Chewie, I'll be waiting for your signal. Chewie's wail comes over the comlink. LUKE -LRB- into comlink. -RRB- Take care, you two. May the Force be with you. Luke looks down at his hand. A metalized type of bandage has been wrapped around his wrist. The medical droid makes some adjustments in a tiny electronic unit, then pricks each one of Luke's fingers. LUKE Ow! Luke wriggles his fingers, makes a fist, and relaxes it. His hand is completely functional. He gets up and walks over to Leia. There is a new bond between them, a new understanding. Leia is thinking about Han ; Luke is thinking about his uncertain and newly complicated future. Together they stand at the large window of the medical center looking out on the Rebel Star Cruiser and a dense, luminous galaxy swirling in space. Luke puts his arm around Leia. The droids stand next to them, and Threepio moves closer to Artoo putting his arm on him. The group watches as the Millennium Falcon moves into view, makes a turn, and zooms away into space.", "EXT. SPACE - REBEL STAR CRUISER While Luke, Leia, and the droids stand, looking out the window of the star cruiser, two escort fighters join the large ship. Slowly, the cruiser turns and moves away into space. DISSOLVE TO", "EXT. GALAXY - SPACE END CREDITS FADE IN AND OUT OVER BACKGROUND THE END" ]

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[ "EXTERIOR IRAQ- EXCATVATION SITE- NINEVEH- DAY Pickaxes and shovels weld into the air as hundreds of excavators tear at the desert. The camera pans around the area where hundreds of Iraqi workmen dig for ancient finds. The caption Northern Iraq appears at the bottom of the screen as the digging continues. The camera then follows a young boy running bare foot over the rocky mounds. He comes to a stop and the camera is positioned in between the boys legs looking at and aging man also digging. YOUNG BOY -LRB- In Iraqi language. -RRB- They've found something. small pieces. MERRIN -LRB- In Iraqi language. -RRB- Where? YOUNG BOY -LRB- In Iraqi language. -RRB- At the base of the mound. The boy runs off and the old man pulls himself to his feet to follow. The old man walks to the base of the mound where another man who looks in command is there to greet him. MAN -LRB- In Iraqi language. -RRB- Some interesting finds. Lamps, arrow - heads, coins. The old man picks up an old pendant and holds it up. MERRIN -LRB- In Iraqi language. -RRB- This is strange! The man dusts the pendant and takes a look. MAN -LRB- In Iraqi language. -RRB- Not of the same period. The old man reaches into a hole in the rock, moving and re - arranging small rocks to see what he can find. He grabs a pickaxe and scrapes out a small sculpted piece of rock crushed into another. The man takes a dust brush from the man's pocket and brushes some dust from the sculpted rock. As the dust is swept we see that it is a face. The old man recognises it and looks worried. He brakes the sculpted rock away from the ordinary rock and takes a good look at it.", "EXTERIOR IRAQ- MARKET PLACE- DAY An Iraqi man walks through the noisy crowd with a tray and up to the old man's table. He puts the drink on the table and watches as the old man opens a small pendant full of pills and puts one into his mouth. The old man is trembling with fear as he downs his drink. He puts the glass down and looks at the people around him. The man with the tray comes back to the old man's table and picks up the glass. MAN WITH TRAY -LRB- In Iraqi language. -RRB- Something else? MERRIN -LRB- In Iraqi language. -RRB- No thank you. The old man stands up and looks at the bus boy. We cut to a group of workers hitting there hammers on an anvil. The old man walks in there direction but stops as he sees one of the workers stop work to wipe his brow. When the worker makes eye contact with the old man we see that the worker has one eye without pigment, bleached white as if it has rolled backward. The old man stares at him and then walks on. INTERIORIRAQ - ARCHAEOLOGIST'S OFFICE - DAY We see a clocks pendulum swinging, uncovered sculpted rocks of all kinds and a man sitting at a desk writing up the report on what they found. The old man picks up the pendant he found and then the rock head he found and takes a look. MERRIN -LRB- In Iraqi language. -RRB- Evil against evil. The man at the table looks confused. MAN -LRB- In Iraqi language. -RRB- Father. We then see the clocks pendulum stop over the old man's shoulder. He turns around and walks toward it. After looking he sits down beside it. As he sits the man at the desk stands up. MAN -LRB- In Iraqi language. -RRB- I wish you did n't have to go. MERRIN -LRB- In Iraqi language. -RRB- There is something I must do.", "EXTERIOR IRAQ- OUTSIDE ARCHAEOLOGIST'S OFFICE- DAY The two men shake hands and hug. The old man walks away and a group of people bow in a row.", "EXTERIOR IRAQ- MARKET PLACE - ALLEY WAY- DAY The old man walks through the noisy, crowded alley way and exits through the other side. As he exits he approaches a tunnel, in the distance we can here a bell ringing quite fast. As the old man gets closer to the tunnel the bell gets louder. When he reaches the tunnel a horse and cart flies out in front of him, aboard the cart we see a frightened old women. The old man looks around as if he was lucky to survive.", "EXTERIOR - IRAQ- NINEVEH- DAY The old man arrives back at that dig site in a small jeep. As he pulls up two armed guards rush out. When they see who it is the old man gives them a wave and they slowly walk back to there quarters. The old man walks up the rocky mound and sees a huge statue of the demon Pazuzu, which has the head of the small rock he earlier found. He climbs to a higher point to get a closer look. When he reaches the highest point he looks at the statue dead on. He then turns his head as we hear rocks falling and sees a guard standing behind him. He then turns again when he hears two dogs savagely attacking each other. The noise is something of an evil nature. He looks again at the statue and we are then presented with a classic stand off side view of the old man and the statue as the noises rage on. We then fade to the sun slowly setting as the noises lower in volume.", "EXTERIOR GEORGETOWN- CITY STREETS- EARLY HOURS We are transformed from the blazing suns of Iraq to the dusk of Washington. As the cross fade is made, the caption GEORGETOWN appears at the bottom of the screen. We slowly zoom in on a house in the distance.", "INTERIOR MACNEIL HOUSE- CHRIS' BEDROOM- EARLY HOURS A small light is switched on by Chris MacNeil, a woman in her mid thirties, mother and famous actress. She is clad in her night clothes lying in bed, examining lines from a script. She is disturbed by a scratching noise that seems to be coming from outside her room. She looks over her shoulder to hear for it again. When it does happen again she climbs out of bed and puts her robe on. She walks toward the bedroom door and exits to the hall.", "INTERIOR MACNEIL HOUSE- HALLWAY-EARLY HOURS Chris walks through the dark hallway toward her daughters room, as she passes the attic hatch she hears the noise again and it appears to be coming from the attic. She walks into Regan's -LRB- her daughter -RRB- room and sees that the window is wide open and she is on top of her bed covers. Chris walks in and shivers because of the cold night air which enters through the open window. As Chris approaches the window another scratch is heard from the attic. Chris takes no notice and closes the window. She then walks round Regan's bed and puts the covers back over her, she tucks her in and strokes her face. CHRIS -LRB- Whispering. -RRB- I sure do love you. Chris kisses Regan and turns away.", "INTERIOR MACNEIL HOUSE- KITCHEN- MORNING Chris walks into the kitchen in her robe, with a pen in her mouth and her script in her hands. She is greeted by Willie an ageing, Swiss house maid. CHRIS Morning. WILLIE Good morning Mrs. MacNeil. CHRIS How are you today? WILLIE Fine thank you. CHRIS That's good. Chris puts the script and pen on the table and lifts the coffee pot to pour her self a mug. Willie offers to do it for her but Chris refuses. CHRIS It's okay I got it, thanks. Willie returns to making breakfast as the ageing, Swiss, butler Karl walks in. KARL Good morning Madame. CHRIS Good morning Karl. Oh Karl, we've got rats in the attic you better get some traps. KARL Rats? CHRIS Uh huh. ` Fraid so. Chris walks to the fridge with her cup of coffee. KARL But it's clean? CHRIS All right then we've got clean rats. Chris takes a carton of milk out of the fridge and pours some into her coffee. KARL No. No rats. CHRIS I just heard them Karl. Karl shrugs his shoulders KARL Maybe plumbing? Chris puts the carton of milk away. CHRIS Yeah or maybe rats now will you just get those traps. KARL Yes, I go now. CHRIS Well do n't go now Karl the stores are n't open yet. Karl picks up a huge jar. And heads out the door. KARL I'll go see. WILLIE -LRB- Shouting at Karl. -RRB- They're closed!", "EXTERIOR UNIVERSITY OF GEORGETOWN- FILM SET- DAY We are looking at the building of Washington University when suddenly we are transported to the film set on campus. Lights, camera's, crew members all of the place. A group of crew members are surrounding one man, the director Burke Dennings. Burke does n't respond to any of them until he hears a voice calling from a trailer. CHRIS -LRB- calling. -RRB- Burke? oh Burke? CREW MEMBER Is this scene really essential Burke? Burke turns to see Chris walking toward him. He walks to her. CREW MEMBER Can you just consider on whether or not we can do without it? Chris walks to Burke with her script in hand. CHRIS Burke take a look at this damn thing it just does n't make sense. BURKE Why it's perfectly plain, your the teacher at the college, you do n't want the building torn down. CHRIS C'mon I can read for Christ sake. BURKE Well what's wrong? CHRIS Well why are they tearing the building down? BURKE Shall we summon the writer? He's in Paris I believe. CHRIS Hiding? We see a crowd of people looking on. Standing out is a young, dark, handsome Jesuit Priest. BURKE Fucking. Chris bursts into laughter and hugs Burke as the crowd including the priest burst into laughter.We cut to a crew member with a clapper board. CREW MEMBER Scene 39, hotel, take 4! As he claps the board we hear the assistant director's voice on a mega phone. CREW Okay Action! The crowd of movie extras cheer and chant as an actor with a mega phone plays his part. Chris is being touched up with make up before she makes her appearance. She walks toward the set. ACTOR -LRB- with mega - phone. -RRB- Has there been enough killing After the actor says each line, the crowd cheer. Chris walks into the crowd of extras, as we see Burke on the directors chair smiling and laughing. Chris reaches the guy with the mega - phone and turns on character. She takes the mega - phone and begins. CHRIS -LRB- with mega - phone. -RRB- Wait a minute, please, hold it! Hey c'mon we're all concerned with human rights for god's sake, but the kids who wan na get an education have a right too! The crowd cheer. CHRIS -LRB- with mega - phone. -RRB- Can you understand it's against your own principles for gods sake. The crowd cheer. CHRIS You ca n't, you ca n't accomplish anything by sending kids out. The crowd cheer cutting her short. We focus on the young priest who is walking away from the campus. CHRIS -LRB- with mega - phone. -RRB- Order! Order! If you wan na effect any change you'll have to do it within the system. The crowd cut her short again with an almighty cheer. We move in front of the young priest who continues to walk from the set. CREW Okay cut! That's a rap!", "EXTERIOR GEORGETOWN UNIVERSITY- ENTRANCE- DAY We see Chris descending a flight of stairs walking toward a car. CHRIS I think I'll walk home tonight Mike. MIKE All right. She hands her leather case to him. CHRIS And take that and drop it by my house. She walks off and waves goodnight to the crew across the road. As she turns the corner and walks down the road, Mike Oldfield's Tubular Bells begins to play. She walks through the leaf covered street on Halloween and sees a group of kids in costume run past her. She carries on walking and sees to nuns waking in the wind, with the gowns blowing. She approaches the local chapel and over hears a voice. KARRAS There's not a day in my life when I do n't feel like a fraud. I mean priests, doctor, lawyers I've talked to them all, I do n't know anyone who has n't felt that. She sees that's it's the young Jesuit who was at the campus earlier, and that he is talking to another priest. We do n't hear the rest of the conversation because of a low flying aeroplane.", "INTERIOR MACNEIL HOUSE- DINNING ROOM- DUSK We cut to the dinning room where Chris's house sitter and nanny, Sharon is sitting at a type writer eating an apple. CHRIS -LRB- calling from outside. -RRB- Hello? SHARON In here! Chris walks into the dinning room. CHRIS Hi SHARON Hi, how'd your day go? CHRIS Oh not to bad, kinda like the Walt Disney version of the Ho Chi Minh story, but other than that it was terrific. Chris picks up her mail. CHRIS What have we got here? Sharon gives her a letter. SHARON Here. CHRIS Oh great, anything else? SHARON And you got an invitation. CHRIS What's this? SHARON Dinner at the White House. CHRIS Your kidding me. What is it a big party or something? SHARON Just five or six people. CHRIS No kidding. Chris walks toward the cabinet and pours herself a drink. We hear a small voice call from the hall. REGAN Hi mom. Regan runs in and hugs and kisses Chris. CHRIS What did you do today? REGAN Um. Stuff. CHRIS What kind of stuff? REGAN Well, me and Sharon played a game in the back yard, and we had a picnic down by the river. Chris sits down. REGAN Oh mom, you should have seen this man came along on this beautiful grey horse. -LRB- to Sharon. -RRB- Was n't it pretty? CHRIS Really, what kind was it a mair or guilding? REGAN Think it was a guilding. It was grey. Oh it was so beautiful, the guy let me ride it all around. CHRIS Your kidding? SHARON Yeah for about half an hour. REGAN It was so nice, oh I loved it. Oh mom ca n't we get a horse? CHRIS Well, not while we're in Washington. REGAN Oh. CHRIS We'll see when we get home okay. REGAN When can I have one? CHRIS We'll see Regan. -LRB- to Sharon. -RRB- Now about those party invitations. Regan opens the jar of candy for the trick or treaters and takes some candy. Regan runs of and Chris chases her. CHRIS Regan come back here. Chris catches Regan and wrestle her to the floor. Regan is giggling constantly. CHRIS All right give it up, give it up, now! You'll be sorry.", "INTERIOR SUBWAY- DAY We cut to a train screaming through a subway station. When the train goes past we see the young Jesuit priest standing at the platform. As things get quiet he hears and Irish voice behind him. HOMELESS GUY Fa - dah! Can you help an old altar boy? I'm a Cat - lick! A train goes past illuminating the homeless guys face. The young priest just walks on.", "EXTERIOR NEW YORK STREET- DAY The young priest walks down a garbage infested, New York city street. Kids making noise and jumping on cars are the only source of noise. The young priest walks up a porchway and enters a building.", "INTERIOR KARRAS' MOTHER'S FLAT- HALLWAY The young priest enters the apartment, turns on the light and takes off his jacket, and his collar. KARRAS Momma? He walks into the living room where an old woman sits listening to a radio. KARRAS Momma? He leans over the chair. KARRAS Momma? The old woman stands up with joy. MRS.KARRAS Dimmy! Damien! They greet each other in Greek as Mrs. Karras hugs him. MRS. KARRAS I'm so happy to see you. KARRAS You look good. MRS.KARRAS I'm all right. KARRAS How's your leg? MRS. KARRAS How about you Dimmy? Are you all right? KARRAS I'm fine mom, I'm fine. We cut to Karras eating his supper and his mom rocking in her chair with the radio on still playing in the background. MRS.KARRAS Your Uncle John stopped by to visit me. KARRAS Oh really, when? MRS.KARRAS Last month. We now cut to Karras putting a bandage around his mothers leg. KARRAS Is that too tight? MRS.KARRAS No. KARRAS Now momma you have to stay off it, you ca n't keep go up and down those stairs you have to give it rest. MRS.KARRAS Okay KARRAS Momma I can take you somewhere to a place where you would n't be alone. There'd be people around, you know you wo n't have to sit here listening to the radio. Mrs. Karras responds by shouting in Greek. MRS.KARRAS You understand me, This is my house, and I'm not going no place. Damien stands up and lights a cigarette. MRS.KARRAS Dimmy, you worry for something? KARRAS No momma. MRS.KARRAS You are not happy. Tell me what is the matter? KARRAS Momma, I'm all right, I'm fine, really I am. We cut to the bedroom light going out, with Damien walking out back in uniform. He put's some money on the table and turns up the radio so that his leaving does n't wake his mother. He kisses her and walks out.", "INTERIOR MACNEIL HOUSE- BASEMENT- NIGHT Regan is in the basement making a model. Chris is decending the steps. REGAN Here it comes. There She holds up a clay model of an orange bird. Chris and Regan both laugh. CHRIS Oh look at that. REGAN You like it? CHRIS Oh it's so funny. Chris takes it and put's it on a shelf. CHRIS I better put him over here to dry though. He's still wet. Regan walks over to the ping pong table and bounces a ping pong ball. By the shelf Chris picks up an ouiji board. CHRIS Hey, where'd this come from? REGAN I found it. CHRIS Where? REGAN The closet Chris walks toward the ping pong table with the ouiji board in hand. CHRIS You've been playing with it? REGAN Yeah. CHRIS You know how? REGAN Here I'll show you. Regan places the board down on the table. Chris drags a chair over and sits down. CHRIS Wait a minute you need two. REGAN No you do n't. I do it all the time. CHRIS Oh yeah, well let's both play. The pointer pulls itself away from Chris. CHRIS You really do n't want me to play huh? REGAN No I do, Captain Howdy said no. CHRIS Captain who? REGAN Captain Howdy. CHRIS Who's Captain Howdy? REGAN You know, I make the questions and he does the answers. CHRIS Oh, Captain Howdy. REGAN He's nice. CHRIS Oh I bet he is. REGAN Here I'll show you. Regan places the magnifier on the board and closes her eyes. REGAN Captain Howdy, Do you think my mom's pretty? Captain Howdy? Captain Howdy that is n't very nice. CHRIS Well, maybe he's sleeping. REGAN You think?", "INTERIOR MACNEIL HOUSE- REGAN'S BEDROOM- NIGHT Regan is lying in bed looking at a magazine which has Chris and Regan on the cover. Chris is tucking Regan in. CHRIS Regan, why are you reading that? REGAN Cause I like it. CHRIS It's not even a good picture. Looks to mature. REGAN I would n't talk. CHRIS Oh you would n't talk, well I did n't have my make up man there. Chris sits down on Regan's bed leaning over her. CHRIS Just got ta get this eye - lash off of you. Chris tries to get an eye lash from Regan's eye lid. CHRIS No I did n't get it. Chris tries again and gets it. CHRIS What are we gon na do on your birthday, is n't that nice it's on a Sunday this year, what can we do? REGAN I do n't know CHRIS Well what would you like to do? Got any ideas? Regan shakes her head. CHRIS Let me think, let me think, what can we do? Hey you know we never finished seeing all the sights in Washington, the Lee Mansion, shall we to do that? Go sight seeing. If it's a nice day. Regan nods REGAN Yeah CHRIS Okay. And tomorrow night, I'll take you to a movie, okay? REGAN Oh I love you. Regan hugs Chris. CHRIS I love you Rags. We'll have a good day yeah? REGAN You can bring Mr. Dennings if you like. CHRIS Mr. Dennings? REGAN Well you know it's okay. CHRIS Well thank you very much but why on earth would I want to bring Burke on your birthday? REGAN You like him. CHRIS Yeah I like him. Do n't you like him? Hey what's going on? What is this? REGAN Your not gon na marry him are you? CHRIS Oh my god, you kidding, me marry Burke Dennings do n't be silly, of course not. REGAN What? CHRIS Where'd you ever get an idea like that? REGAN But you like him. CHRIS Course I like him, I like pizzas to but I'm not gon na marry one. REGAN Do you not like him like daddy? CHRIS Oh Regan I love your daddy. I'll always love your daddy. Burke just comes around here a lot because he's lonely, do n't got nothin' to do. REGAN Well I heard differently. CHRIS Oh you did. What did you hear? REGAN I do n't know, I just thought. CHRIS Well your thinking's not so good. REGAN How do you know? CHRIS Cause Burke and I are just friends. Okay, really. REGAN Okay. Chris kisses Regan. REGAN Goodnight.", "INTERIOR UNIVERSITY OF GEORGETOWN- CAMPUS BAR- NIGHT Damien is walking away from the bar with two beers. He sits at a table and puts one beer in front of the president of the university. Loud trendy music is playing in the background and the bar is full of students. KARRAS It's my mother Tom. She's alone I never should have left her. At least in New York I'd be nearer, I'd be closer. PRESIDENT Could see about a transfer Damien. KARRAS I need reassignment Tom, I want out of this job. It's wrong, it's no good. PRESIDENT You're the best we've got. KARRAS Am I really? It's more than psychiartry and you know that Tom, some of there problems come down to faith, there vocation, the meaning of there lives and I ca n't cut it anymore. I need out I'm unfit. I think I've lost my faith Tom.", "EXTERIOR WASHINGTON DC- CHRIS' CAR- DAY Chris and Regan are driving through the streets of Washington. They are laughing and joking.", "EXTERIOR WASHINGTON DC- LEE MANSION- DAY In a montage of shots, Chris is walking and Regan is running around the huge pilars. Chris takes pictures of Regan as she poses for the camera.", "EXTERIOR WASHINGTON DC- MEMORIAL DRIVE- DAY Chris and Regan have stopped to watch a soldier march. They both look at a Tomb of an unknown soldier. They both stare. REGAN Mom, why do people have to die? Chris looks at her. She does n't know how to answer. CHRIS People get tired. REGAN Why does God let us get tired? CHRIS God gets lonesome for us, Rags. He wants us back. EXTERIORMACNEIL HOUSE - STREET - DAY We see leaves blow as we cut to a front shot of the house.", "INTERIOR MACNEIL HOUSE- REGAN'S BEDROOM- DAY We start with a close up of Chris on the phone and slowly zoom out to see Regan over hearing the phone call. CHRIS Hello? Yes this is Mrs. MacNeil. Operator you have got to be kidding I have been on this line for twenty minutes. -LRB- to Sharon. -RRB- Jesus Christ, can you believe this, he does n't even call his daughter on her birthday for christ sake. SHARON Maybe the circuit is busy? CHRIS Oh circuit my ass, he does n't give a shit! SHARON Why do n't you let me? Sharon reaches for the phone from Chris' hand CHRIS No I've got it Sharon, it's all right. -LRB- on the phone. -RRB- Yes. No, Operator do n't tell me there's no answer, it's the Hotel Excelcia in Rome would you try it again please and let it ring. Hello? Operator you've given me the number four times. What did you do, take an iliteracey test to get that job for Christ sake. -LRB- shouting. -RRB- No do n't tell me to be calm god damn it! I've been on this fucking line for twenty minutes. Regan sits on her bed and takes off her shoes.", "INTERIOR MACNEIL HOUSE- CHRIS' BEDROOM- NIGHT It's dark and we see Chris a sleep in her bed. The silence is broken by the phone ringing. She clubs her hand on the reciever and picks it up. She holds it to her head. CHRIS Yeah? You're kidding me? I thought I just went to bed. Uh huh. What are we doing scene sixty one? -LRB- switches the light on. -RRB- Okay, just remind him about that blue belt huh? She puts the phone down and rolls over to find Regan laying next to her. CHRIS What are you doing here? REGAN My bed was shaking, I ca n't get to sleep. CHRIS Oh, honey.", "INTERIOR MACNEIL HOUSE- HALLWAY- NIGHT We cut to a close up of the attic outside Chris' room. We then see Chris exit her room tying the cord on her robe. She walks toward the attic and looks as a crashing noise comes from the attic. She walks round to the entrance of the attic and pulls the steps down with a pole. She pushes the light switch but nothing happens, so she lights a candle and climbs the steps as Regan looks on from Chris' bed. When Chris reaches the attic, she walks around in the darkness, knocking things over and looking for what is making the crash. She looks for the rat traps to see if any rats have been caught but all of them remain in tact with the lumps of cheese still in place. Chris hears the crash again and follows the sound, as she walks through the junk her candle blows up ans she hears a voice. Chris turns around to see Karl standing on the steps of the entrance shining a flash - light toward her. KARL There is nothing. CHRIS Oh Karl, Jesus Christ Karl, do n't do that. KARL Very sorry, but you see, no rats! CHRIS No rats. Thanks a lot that's terrific.", "EXTERIOR UNIVERSTIY OF WASHINGTON- DAHLGREN CHAPEL- DAY We cut to an elderly bishop, walking across the campus carrying two large bouquet flower pots. He walks up to the entrance of the chapel and enters.", "INTERIOR UNIVERSITY OF WASHINGTON- DAHLGREN CHAPEL- DAY The bishop walks into the chapel, and walks to the aisle. When he reaches the aisle he bows and then approaches the altar. He places one of the boucuets in front of one statue, but as he turns to the camera he walks very slowly and we see him in shock as he gasps. We cut to what he has seen. It's the statue of the Virgin Mary, which has been horribly desecrated, by being given a clay penis and pointing clay breasts.", "INTERIOR BELLEVUE PSYCHIATRIC HOSPITAL- HALLYWAY- DAY We cut to Karras hurridly walking down a corridor being followed by his Uncle. UNCLE The edima affected her brain, you understand Dimmy? She do n't let no doctor come near her. She was all the time screaming, even talking to the radio. KARRAS You should have called me the minute it happened. UNCLE Listen, regular hospital not going to put up with her Dimmy, understand? So we give her a shot and bring her here, till the doctors fix up her leg, then we take her out Dimmy, two or three months and she's out good as new. They approach an office and Karras' Uncle walks in to speak to the nurse. UNCLE Miss? NURSE Yes? UNCLE We want to see Mrs. Karras. NURSE Do you have an appointment? UNCLE Yes NURSE Are you a relative? UNCLE Yes I am her brother, he's the son NURSE Just a minute. The grabs a set of keys and writes something in a note book. We then cut to Damien staring in the window of the ward. He's see's all sorts of people, all with mental problems. UNCLE You know it's funny. If you was n't a priest you'd be famous psychiatrist now on Park Avenue, your mother she'd be living in a penthouse instead of here. The nurse unlocks the door and opens it. Damien looks at his Uncle. UNCLE You go in Dimmy. I wait for you outside. Karras walks in and leaves his Uncle behind. NURSE You'll find Mrs. Karras on the last bed on the left hand side. As Damien enters, a few of the patients rush toward him. Two of them grab him, as the nurse tries to get them away. Damien barges them out of his way only to have another patient rush into him and take his collar. The nurse takes her away as bed bound patients look on with arms out stretched. Damien approaches his mothers bed. KARRAS Momma? It's Dimmy momma. Mrs. Karras slowly turns her eyes to him. MRS. KARRAS Dimmy. Why they did this to me Dimmy? Why? Damien rushes to comfort his mother. KARRAS Momma, I'm gon na take you outta here momma. Mrs. Karras struggles to turn away from him. KARRAS Momma I'm goona take you home. Mrs. Karras shouts at him in Greek as Damien tries to comfort her. KARRAS Momma, everything's gon na be alright momma, I'm gon na take you home!", "EXTERIOR NEW YORK- CITY STREET- DAY We cut to Damien talking to his Uncle face to face. KARRAS Could n't you have put her some place else? UNCLE Like what? Private hospital? Who got the money for that Dimmy? You?", "INTERIOR UNIVERSITY OF GEORGETOWN- BOXING GYM- DAY We cut Damien taking his frustration out on a punch bag. He throws a few hard punches before stopping for breath.", "INTERIOR DR. KLEIN'S EXAMINING ROOM- DAY Brief montage of shots. Klein administering a physical to Regan. Including opthalmoscope, tuning fork and simple coordination tests. Also blood sample in centrifograph, and urine sampl under microscope. Final shot has a nurse with her back against the examining table, her expression partly puzzled, partly disturbed as she observes Regan, who is in her slip and in constant motion ; stepping, twirling, touching, making nervous movements whilst aimlessly humming. Klein is not present.", "INTERIOR DR. KLEIN'S OFFICE- DAY Chris is seated on the edge of a chair. Klein is behind his desk, writing a prescription. DR. KLEIN A disorder of the nerves. At least we think it is. We do n't know yet exactly how it works, but it's often seen in earl adolescence. She shows all the symptoms : the hyperactivity ; the temper ; her performance in math. CHRIS Why the math? DR. KLEIN It affects concentration. Here tears the prescription away from the pad. DR. KLEIN Now this is for Ritalin. Ten miligrams a day. CHRIS What is it? A tranquilizer? DR. KLEIN A stimulant. CHRIS Stimulant? She's higher than a kite right now! DR. KLEIN Her condition is n't quite what it seems. Nobody knows the cause of her hyperkinetic behaviour in a child. The Ritalin sems to work to relieve the condition, but we really do n't know how or why, frankly. Your daughter's symptoms could be an overreaction to depression - but that's out of my field. CHRIS Depression? DR. KLEIN Well, you mentioned her father. the divorce. CHRIS Do you think I should take her to see a psychiatrist? DR. KLEIN Oh no. I'd wait and see what happens with the Ritalin. I think that's the answer. Wait two or three weeks. CHRIS And those lies she's been telling? DR. KLEIN Lies? CHRIS Ya know, those things to get attention, like saying that her bed shakes and stuff. DR. KLEIN Have you ever known your daughter to swear and use obscenities? CHRIS Never. DR. KLEIN Well, you see, that's quite similar to things like her lying - uncharacter - CHRIS Wait a minute. What are you talking about? DR. KLEIN Well, she let loose quite a string while I was examining her, Mrs. MacNeil. CHRIS You're kidding! Like what? DR. KLEIN Well, I'd say her vocabulary's rather extensive. CHRIS Well, what, for example? I mean, give me a for instance! Klein shrugs. No reply. CHRIS Hey, come on, I'm grown - up. What'd she say? I mean specifically, Doctor. DR. KLEIN Well, specifically, Mrs. MacNeil, she advised me to keep my fingers away from her goddam cunt. CHRIS -LRB- shocked, laughing. -RRB- She used those words? DR. KLEIN She used those words. Look, I doubt that she even understood what she was saying. CHRIS Yeah, I guess. Maybe not. You do n't think a psychiatrist -? DR. KLEIN The best explanation is always the simplest one. Let's wait. Let's wait and see. In the meantime try not to worry.", "EXTERIOR MACNEIL HOUSE- PROSPECT STREET- NIGHT We see the house is lit up as there's a party going on inside. A car pulls up before we enter.", "INTERIOR MACNEIL HOUSE- NIGHT We see lots of people enjoying them selves, talking, laughing, eating. Music playing and people having a good time. We see Burke sitting on a couch with two people beside him, he's drunk and is sat twirling his finger around in his drink. BURKE There seems to be an alien pubic hair in my Gin. ASTRONAUT I beg your pardon? BURKE Never seen it before in my life. Have you? We see more people having fun, Regan laughing and we then cut to Father Dyer, a young priest who is talking to the same guy Burke was. ASTRONAUT Well actually Father, we're quite comfortable up there, at least compared to the Gemini and Mercury program. So they were tight for space, see we've got about two - hundred and ten cubic feet so we can move around. FATHER DYER Listen, if you ever go up there again will you take me along? ASTRONAUT -LRB- laughs. -RRB- What for? FATHER DYER First missionary on mars. We then cut to Burke who is approaching Karl, who is carrying a tray of drinks. BURKE Tell me, was it public relations you done for the Gestapo or community relations? KARL I'm Swiss. BURKE Yes of course. Never went bowling with Goebbels either I suppose ah? Karl walks away. BURKE Nazi bastard. We cut to Chris who is talking to Father Dyer. CHRIS Over behind the church, you know where I mean over there, it's a red brick wing? FATHER DYER St. Mike's. CHRIS What goes down there? I mean who's the priest I keep seeing, he's there all the time. He has black hair and he's very intense looking? FATHER DYER Damien Karras. CHRIS Karras. FATHER DYER That's his office back of St. Mike's. He's our psychiatric counsellor. He had a pretty rough knock last night poor guy, his mother passed away. She was living by herself and I guess she was dead a couple of days before they found her. We cut to the kitchen where Burke is once again taunting Karl. BURKE Cunting Hun! Bloody damn butchering Nazi pig! Karl lunges at Burke and grabs him by the throat. KARL Bastard! I will kill you. CHRIS Karl! Chris, Sharon and Willie pull Karl away from Burke. Willie takes him into another room. KARL You fiend! Burke just laughs and claps his hands. BURKE What's for dessert?", "INTERIOR MACNEIL HOUSE- REGAN'S BEDROOM-NIGHT We see Regan is tucked up in bed with her eyes closed. Chris pulls the covers up to her shoulders. CHRIS Are you asleep? There is no reply so Chris kisses her and exits. As Chris disappears Regan's eyes open suddenly.", "INTERIOR MACNEIL HOUSE- NIGHT We cut to Chris and Sharon who are trying to help -LRB- a very drunk -RRB- Burke to the front door. Burke is trying to mumble a song. Sharon opens the front door for him. CHRIS Listen Burke, your car is on the curbe. Luis is waiting. Burke hugs her. Chris looks confused and hugs him back. Burke pulls away and points his finger as if he wants to say something, but he forgets. CHRIS What honey? BURKE Fuck it. Burke walks off and Chris and Sharon close the door and return to the party. Father Dyer is sitting at the piano and everyone is singing songs. FATHER DYER Hi Chris. Great party. CHRIS Yeah, do n't stop. Keep going. FATHER DYER Listen, I do n't need any encouragement, but my idea of heaven is a solid white night club, with me as the head liner, for all eternity and they love me. Everyone laughs. Father Dyer starts to play a song and everyone sings along. EVERYONE `` Down on the east side of Toyd.'' FATHER DYER Toyd, Toyd. EVERYONE `` Toyd, that's my home, sweet home. Can we both think it's.'' Regan appears in view and Father Dyer notices her first. FATHER DYER Hey I, I think we have a guest. Everyone turns to Regan as she stands and stares at the astronaut guy. REGAN Your gon na die up there. The guy looks puzzled and Regan begins to urinate on the floor. CHRIS Regan, my God honey. -LRB- to the guests. -RRB- I'm sorry, she's been sick. She did n't know what she was saying. PART GUY1 That's all right. CHRIS -LRB- to Regan. -RRB- C'mon. Chris takes Regan out.", "INTERIOR MACNEIL HOUSE- REGAN'S BATHROOM- NIGHT Regan is in the bath tub, hunched forward, staring infront of her. Chris has a sponge and is rinsing water on Regan's back. CHRIS What made you say that Regan? Do you know sweetheart?", "INTERIOR MACNEIL HOUSE- REGAN'S BEDROOM-NIGHT Chris tucks Regan in and walks to the door. REGAN Mother? What's wrong with me? Chris walks back to her. CHRIS It's just like the doctor said, it's nerves and that's all. Okay, you just take your pills and you'll be fine really. Okay? Regan nods and Chris exits the room.", "INTERIOR MACNEIL HOUSE- HALLWAY- NIGHT Chris walks to the stairs where we see Willie, down stairs, cleaning up Regan's mess. CHRIS Is it coming out Willie? WILLIE Yes, I think so. All of a sudden we here Regan screaming along with a constant crashing sound. Chris rushes to Regan's room. REGAN Mother! Mother! Mother! Mother help! Chris opens the door and gasps in shock. We then see Regan on her bed, but the bed is thumping and shaking ferociously. CHRIS Oh my God! REGAN Make it stop! What's wrong! I'm scared! Chris jumps on the bed to comfort Regan and they both sit screaming as the bed continues to rapidly jump around.", "INTERIOR UNIVERSITY OF GEORGETOWN- HALLWAY- NIGHT Father Dyer is walking down the long corridor to Damien's room. He reaches the room, knocks ad then enters. KARRAS Where'd you get the money for the Chivas Regal? The poor box? FATHER DYER That's an insult, I got a vow of poverty. KARRAS Where'd you get it then? FATHER DYER I stole it. KARRAS I believe you. FATHER DYER College president should n't drink. Tends to set a bad example, I figure I saved them from a big temptation. KARRAS Oh Christ! I should of been there and I was n't there, I should've been there. FATHER DYER There was nothing you could do. Lye down. C'mon. Father Dyer helps Damien onto his bed, takes his cigarette and takes his shoes off. FATHER DYER Think you can sleep? KARRAS Are you gon na steal my shoes now? FATHER DYER No, I tell fortunes by reading the crease, now shut up and go to sleep. Damien grabs Father Dyer's arm but slowly let's go. Father Dyer turns the light out and heads for the door. FATHER DYER Goodnight Dims. KARRAS Stealing is a sin. Dyer exists. We slowly zoom in on Damien while he's asleep. He starts to dream and we see the images that come into his head. There is falling medallion, a swing pendulum in a clock and a running dog. He then sees his mother ascending a subway tunnel to the street, Karras is on the other side of the street and although there is no sound, we can see that Damien is calling `` Momma'' and Mrs. Karras is calling `` Damien''. A white demonic face flashes a split second as Karras starts to run across the street to his mother, but we see her once again descend to the subway. We see the falling medallion again and as it hits the floor, the silence is broken by Regan's screamng.", "INTERIOR HOSPITAL- DR. KLEIN'S OFFICE- DAY REGAN I do n't want it. CHRIS Honey it's to help you. We can see Dr. Klein preparing an injection. REGAN I do n't want it, I do n't want it. Dr. Klein injects the needle into Regan's arm. She spits at him. REGAN You fucking bastard!", "INTERIOR UNIVERSITY OF GEORGETOWN- CHAPEL- DAY Karras is doing a church service in the chapel. KARRAS -LRB- whisper. -RRB- Remember O Lord, Thy servant, Mary Karras. who has gone before us with the sign of faith, and sleeps the sleep of peace. -LRB- to the attendants. -RRB- Lord I am not worthy to receive you, but only say the words and I shall be healed. May the body of Christ bring me ever lasting life.", "INTERIOR HOSPITAL- CORRIDOR- DAY Chris is waiting outside Dr. Klein's office. Dr.Klein emerges from his room. DR. KLEIN Well, It's a symptom of a type of desturbance in the chemico - electrical activity of the brain. In the case of your daughter in the temperal lobe, up here in the lateral part of the brain. It's rare, but it does cause bizarre hallucinations and usually just before a convulsion. CHRIS Convulsion? DR. KLEIN The shaking of the bed, that's doubtless due to musuclar spasms. CHRIS Oh no, that was no spasm. I got on the bed, the whole bed was thumping and rising off the floor and shaking. The whole thing, with me on it! DR. KLEIN Mrs. MacNeil the problem with your daughter is not her bed, it's her brain. They both walk into Klein's office.", "INTERIOR HOSPITAL- DR. KLEIN'S OFFICE- DAY CHRIS So, what causes this? DR. KLEIN Lesion, Lesion in the temperal lobe. It's a kind of seizure disorder. CHRIS Look doc, I really do n't understand how her whole personality could change. DR. KLEIN The temperal lobe is very common. Could last for days, even weeks. It is n't rare to find destructive or even criminal behaviour. CHRIS Hey do me a favour will ya'. Tell me something good. DR. KLEIN Do n't be alarmed. If it's a lesion in a way she's fortunate. All we have to do is remove the scar.", "INTERIOR HOSPITAL- OPERATING THEATRE- DAY We see Regan being wheeled on a bed to the operating bench. The place the bed next to the bench and pull the bars down. MALE NURSE Regan, could you sit up and scoot over here? Regan does so and she lays back onto the operating bench. The male nurse pushes a button and the bench begins to move forward. MALE NURSE Regan, I'm just gon na move you down to the table okay? The bench comes to a halt. MALE NURSE Just for a short time. Both nurses, male and female, loosen Regans gown around the neck to prep her for the doctor. They place monitors on her arms. MALE NURSE Very sticky. The doctor approaches Regan with a pot of betadine and puts a sponge into the pot. DOCTOR Now Regan you're going to feel something, a little bit cold and wet. He dabs the sponge onto her neck making it a light brown colour. The doctor then picks up a hypodermic needle and moves toward her. We can see Chris and Dr. Klein in the viewing room. DOCTOR Okay, now you're gon na feel a little stick here. Do n't move. The doctor injects the needle into Regan's neck. DOCTOR Good. He then picks up a a needle head without the syringe, and moves toward her. DOCTOR Okay, you're gon na feel some pressure here, now do n't move. The doctor places the needle into the hole he made with the syringe. Regan is quietly yelping in pain, and Chris is in pain watching her daughter suffer. The doctor takes the tiny cap from the needle, Regan's clothing is squirted with blood and places a tube into the needle's head. We see the blood rush from Regan's neck through the tube. The male nurse then tapes Regan's chin down to prevent her from moving. The nurses then move in a huge machine, two pieces either side of Regan's head and a piece above. The lights fade out in the theatre and all we can see is Regan's face illuminated by this huge machince above her. DOCTOR Hook up. We see a finger flip a switch and the machine comes to life. A guy in the view room pushes another button and the machine lets off several loud bangs. In the theatre we can see Regan crying.", "INTERIOR HOSPITAL- X-RAY ROOM- DAY We see an X - ray slide of Regan's skull appear on an illuminated screen. Then several more appear one after the other. We see Dr. Tanney is controlling the slides as he examines them, Dr. Klein is with him. DR. TANNEY There's nothing there. No vascular displacement at all. You want me to run another series? DR. KLEIN I do n't think so. I'd like you to see her again. A nurse enters the room. NURSE Excuse me Doctor. Chris MacNeil is on the phone, she says it's urgent. DR. KlEIN Got some time? DR. TANNEY Of course.", "INTERIOR MACNEIL HOUSE-DAY We hear the doorbell ring and Sharon racing down the stairs to answer it, but no sound could block out Regan's screaming from up stairs. Sharon opens the door. SHARON Dr. Klein? DR. KLEIN Yes I'm Dr. Klein, this is Dr. Tanney. DR. TANNEY How do you do? SHARON Hi Sharon, things have gotten worse since we called you, I better take you up stairs. DR. KLEIN Is she having spasms again? SHARON Yes but they've gotten violent. DR. KLEIN Did you give her the medication she needed? SHARON Yes. DR. TANNEY What was that? DR. KLEIN Thorazine. Before that it was Ritalin. They approach Regan's door. Sharon knocks. SHARON Chris, Doctors. Chris opens the door. DR. KLEIN Mrs. MacNeil, this is Doctor Tanney. We see Regan is laying on her bed, thrashing her torso against the mattress and up again. REGAN Mother please! Oh please mother make it stop! It's burning, it's burning please mother! CHRIS So something please Doctor, Help her! REGAN Make it stop, it really hurts! Mother! Make it. Regan suddenly growls, her eyes roll back and her throat swells abnormally. She stands up on the bed. DR. KLEIN Alright then Regan, let's see. Regan back hands Dr. Klein and he flies backward. CHRIS Oh Regan! REGAN/DEMON Keep away! The sow is mine! She pulls up her dress and mimes masturbation. REGAN/DEMON Fuck me! Fuck Me! Fuck me! She falls back and starts to scream again. DR. KLEIN Get my bag! Sharon grabs Dr. Klein's bag and Karl slaps Regan to stop her from screaming. Chris screams with horror in reaction to what she's just seen. Karl and Dr. Tanney hold Regan down as Dr. Klein prepares a syringe to knock her out. REGAN Stay away from me! Stay away! Mother! DR. KLEIN Hold her steady, Hold her tight! Dr. Klein injects the needle and Sharon takes Chris outside. When the door is closed, Regan's screaming becomes dead silence.", "INTERIOR MACNEIL HOUSE- SECOND FLOOR HALLWAY- DAY Chris and Sharon sit in the hallway with their heads in hands. Klein and Tanney exit Regan's room and approach them. Chris stands. DR. KLEIN She's heavily sedated. She'll probably sleep through tomorrow. CHRIS What was going on in there, how could she jump off the bed like that? DR. TANNEY Pathological states can induce abnormal strength, accelerated motor performance. For example, a ninety - pound women sees her child pinned under the wheel of a truck, runs out and lifts the wheels half a foot up off the ground. You know the story, same thing here. Same principle, I mean. CHRIS So what's wrong with her? DR. KLEIN We still think the temporal lobe. CHRIS Oh. What are you talking about for Christ sake! Did you see her or not? She's acting like a fucking out of her mind psychotic or a split personality or. DR. TANNEY There have n't been more than a hundred authenticated cases of so - called split personality, Mrs. MacNeil. Now I know the temptation is to leap to psychiatry, but any reasonable psychiatrist would exhaust the somatic possibilities first. CHRIS So what's next? DR. TANNEY A pneumoencephelogram, I would think, pin down that lesion. It will involve another spinal. CHRIS Oh, Christ. DR. TANNEY What we missed in the EEG and the arteriogram could conceivably turn up there. At the least, it would eliminate certain other possibilities.", "INTERIOR MEDICAL LABORATORY- DAY We see a piece of heavy machinery swivelling above the camera. We then see Regan strapped to a table, hooked up to the machine. She's yelping in pain.", "INTERIOR DR. KLEIN'S OFFICE-DAY Dr. Klein is looking over the lab reports and seems baffled. DR. KLEIN Dr. Tanney says the X - rays are negative. In other words normal. Chris sighs. DR. KLEIN Do you keep any drugs in your house? CHRIS No. Of course not, nothing like that. DR. KLEIN Are you sure? CHRIS Well of course I'm sure. I'd tell you. Christ, I do n't even smoke grass. DR. KLEIN Are you planning to be home soon? LA, I mean. CHRIS No. I'm building a new house, the old one's been sold. I was going to take Regan to Europe for a while, after she finished school here. Why d'you ask? DR. KLEIN I think it's time we started looking for a psychiatrist.", "INTERIOR CHRIS' CAR- NIGHT Angle from driver's seat -'M' Street and 36th. Through the windshield, dead ahead, a crowd has gathered by the base of the steep steps beside the house, and an ambulance is pulling out into traffic. Police car lights are flashing. As Chris rounds off the bridge on to Prospect street, the ambulance pulls out and then gets ahead of her, siren wailing. We follow the ambulance for two beats.", "INTERIOR MACNEIL HOUSE- KITCHEN- NIGHT The lights are blinking on and off and the phone is ringing. Chris enters the kitchen and answers the phone. CHRIS -LRB- down the phone. -RRB- Hello? But there is no answer. She puts the phone down and wanders further into the kitchen. The lights are still blinking. CHRIS Sharon? The lights come back on. CHRIS Shar? Still no response. Chris exits to the lounge.", "INTERIOR MACNEIL HOUSE- SECOND FLOOR HALL- NIGHT As Chris reaches the landing she halts, her eyes warily scanning around, then she continues down the hall toward us, and opens the door to Regan's bedroom.", "INTERIOR MACNEIL HOUSE- REGAN'S BEDROOM- NIGHT There is silence as Chris stands by the door a moment. Chris hugs herself, shivering from the cold. Regan is sound asleep and uncovered from the bed sheets. Chris sees that the window is wide open. CHRIS -LRB- whisper. -RRB- Shit. Chris moves to the window and closes it, but still feels cold. She walks to Regan and pulls the covers back over her.", "INTERIOR MACNEIL HOUSE- SECOND FLOOR HALL- NIGHT As Chris exits and softly closes Regan's door. She walks toward the stairs when we hear the front door close, followed by a call. SHARON -LRB- downstairs. -RRB- Sharon!", "INTERIOR MACNEIL HOUSE- FOYER- NIGHT Sharon enters with a brown pharmacy bag. CHRIS What the hell do you mean going out and leaving Regan by her self! What are you kidding her window's wide open. SHARON What did n't he tell you? CHRIS Did n't who tell me? SHARON Burke. CHRIS What's Burke got to do with it? SHARON Well, when I went to get the Thorazine I had him to stay with her and. Oh, I should of known better. CHRIS Yeah, well I guess you should've. Chris hangs up her jacket and the doorbell rings. SHARON What did the doctor say? CHRIS We have to start looking for a shrink. She opens the door. It's the assistant director. CHRIS Hi Chuck, c'mon in. CHUCK I suppose you've heard. CHRIS Heard what? Chuck takes his hat off and holds it to his chest. CHUCK You have n't heard. Chris turns around to face him and looks baffled. CHUCK Burke's dead. -LRB- Short pause. -RRB- He must of been drunk. He fell down from the top of the steps right outside, by the time he hit'M' Street he'd broken his neck. Chris puts her hands to her mouth. CHRIS Oh God! Chris breaks into tears and press up against the wall. Chuck gently hugs her from behind. CHUCK Yeah, I know. Chuck backs away. CHUCK I'll see you later. Chuck exits. CHRIS Oh Burke! Poor Burke! SHARON I ca n't believe it. Chris lowers her brow into her hand, leaning against the door. She shakes her head, exhales. CHRIS I guess everything - She breaks off, staring with horror at something descending the stairs. It's Regan on all fours. She's gliding, spiderlike, noiselessly and swiftly, down the staircase. She halts directly at the bottom. Staring at Sharon. Sharon is shocked and eyes fixed on Regan. Regan's tongue begins to flicker rapidly in and out of her mouth. She crawls very speedly toward Sharon with her tongue sticking out. Sharon screams and runs toward the door, Chris falls on Regan trying to hold her back. CHRIS Call the doctor! We fade to black PSYCHIATRIST Now when I touch your forehead, open your eyes. We fade back with a full face shot of Regan, with two fingers wiping her brow.", "INTERIOR MACNEIL HOUSE- CHRIS' BEDROOM- DAY We stay fixed on Regan's full mug shot. PSYCHIATRIST Are you comfortable Regan? REGAN Yes. PSYCHIATRIST How old are you? REGAN Twelve. PSYCHIATRIST Is there someone inside you? REGAN Sometimes. PSYCHIATRIST Who is it? REGAN I do n't know. PSYCHIATRIST Is it Captain Howdy? REGAN I do n't know. PSYCHIATRIST If I ask him to tell me, will you let him answer? We now get a view of the whole room. Chris and Dr. Klein are also present. REGAN No. PSYCHIATRIST Why not? REGAN I'm afraid. PSYCHIATRIST If he talks to me, I think he'll leave you. Do you want him to leave you? REGAN Yes. We get a close up of the psychiatrist. PSYCHIATRIST I'm talking to the person inside of Regan now. If you are there you too are hypnotised and must answer all my questions. Come forward answer me now. A framed picture of Regan drops to the floor. We switch to a close up of Regan who is growling like some kind of animal. Chris and Dr. Klein both cover there nose and mouth as if a foul stench is circulating the room. PSYCHIATRIST Are you the person inside of Regan? Regan's eyes are fixed on the psychiatrist. Her arm is propped up like a cobra ready to strike. PSYCHIATRIST Who are you? Regan's hand drops and grips the psychiatrists scrotum, squeezing like a vice. The psychiatrist screams in pain. PSYCHIATRIST ARGHHHH Harold! Help me! Dr. Klein grabs Regan and pulls her away. Regan falls back and screams extremely loud.", "EXTERIOR RUNNING TRACK- GEORGETOWN UNIVERSITY- DAY In training gear, Karras is running laps. Seated on a bench at the edge of the track, watching Karras, Lt. Kinderman. Karras seems curious, if not disturbed, by Kinderman's presence. When Karras stops, panting, Kinderman rises and moves toward him. KINDERMAN Father Karras? Karras picks up his towel and wipes his brow. KARRAS Have we met? KINDERMAN No we have n't met, but they said I could tell ; that you looked like a boxer. Kinderman shows his badge. KINDERMAN William F. Kinderman. Homicide. KARRAS What's this about? KINDERMAN Yeah, it's true. You do look like a boxer. John Garfield, in Body and Soul. Exactly John Garfield anyone told you that Father? KARRAS Do people tell you look like Paul Newman? KINDERMAN Always. Karras walks away toward the campus. KINDERMAN You this director was doing a film here, Burke Dennings? KARRAS I've seen him. KINDERMAN You've seen him. You're also familiar with how last week he died? KARRAS Only what I read in the papers. KINDERMAN Papers. Tell me, what do you know about the subject of witchcraft? From the witching end, not the hunting. KARRAS I once did a paper on it KINDERMAN Really? KARRAS From the psychiatric end. KINDERMAN I know. I read it. These desecration's in the church... you think they have anything to do with witchcraft? KARRAS Maybe. Some rituals used in Black Mass.. Maybe. KINDERMAN And Dennings, you read how he died? KARRAS Yeah, a fall. KINDERMAN Let me tell you how Father, and please confidential. Burke Dennings, good Father, was found at the bottom of those steps leading to'M' Street, with his head turned completely around. Facing backwards. KARRAS Could n't it of happened on the fall. KINDERMAN It's possible. Possible however... KARRAS Unlikely. KINDERMAN Exactly. So on the one hand we've got a witchcraft type of murder and a Black Mass style of desecration in the church. KARRAS You think the killer and the desecrator are the same? KINDERMAN Maybe somebody crazy, someone with a spite against the church, some unconscious rebellion, perhaps. KARRAS Sick priest, is that it? KINDERMAN Look, Father this is hard for you - please. But for priests on the campus here, you're the psychiatrist ; you'd know who was sick at the time, who was n't. I mean this kind of sickness. You'd know that. KARRAS I do n't know anyone who fits the description. KINDERMAN Ah, doctor's ethics. If you knew you would n't tell, huh? KARRAS No I probably would n't. KINDERMAN Not to bother you with trivia, but a psychiatrist in sunny California was thrown in jail for not telling the judge what he knew about a patient. KARRAS Is that a threat? KINDERMAN No, I mentioned it only in passing. KARRAS Incidentally I mention only in passing that I could tell the judge that it was a matter of confession. Karras walks off toward his dormitory and Kinderman chases him. KINDERMAN Hey, Father? You like movies? KARRAS Very much. KINDERMAN I get passes to the best shows in town. Mrs. K though, she gets tired and never likes to go. KARRAS That's to bad. KINDERMAN Yeah, I hate to go alone. You know, I like to talk film ; discuss the critique. D'you wan na see a film with me? I got passes to The Crest. It's Othello. KARRAS Who's in it? KINDERMAN Who's in it? Debbie Reynolds, Desdemona, and Othello, Groucho Marx. You're happy? KARRAS I've seen it. KINDERMAN One last time : Can you think of some priest who fits the bill? KARRAS Come on! KINDERMAN Answer the question, Father Paranoia. KARRAS Alright. You know who I think really did it? KINDERMAN Who? KARRAS The Dominicans. Go pick on them. KINDERMAN I could have you deported, you know that? Karras walks to the front door. KINDERMAN -LRB- shouts to Karras. -RRB- I lied! Karras turns around. KINDERMAN -LRB- shouting to Karras. -RRB- You look like Sal Mineo! Karras smiles and walks inside.", "EXTERIOR BARRINGER CLINIC- DAY The leaves blow as the camera zooms in on the Barringer Clinic.", "INTERIOR BARRINGER CLINIC- WARD- DAY CLINIC DIRECTOR It looks like a type of disorder that you rarely ever see anymore, except in primitive cultures. We see Regan on a monitor screen. She's in another fit, in bed and restrained by straps. CLINIC DIRECTOR We call it a somnambuliform possession. We cut to another angle of Regan who has slightly visible welts on her face. She's still screaming. We then cut to Regan, now flat on her back, mumbling to herself.", "INTERIOR BARRINGER CLINIC- DIRECTOR'S OFFICE- DAY CLINIC DIRECTOR Quite frankly, we do n't know much about it except that it's starts with some conflict or guilt that eventually leads to the patient's delusion that his body's been invaded by an alien intellegence ; a spirit if you will. CHRIS Look, I'm telling you again and you'd better believe it, I'm not about to put her in a goddamn asylum! CLINIC DIRECTOR It's - CHRIS And I do n't care what you call it! I'm not putting her away! CLINIC DIRECTOR I'm sorry. CHRIS You're sorry. Christ, eighty - eight doctors and all you can tell me is all of your bullshit. CLINIC DIRECTOR - There is one outside chance of a cure. I think of it as shock treatment. As I say, there is an outside chance. CHRIS Will you just name it, for God's sake? What is it? MALE DOCTOR Do you have any religious beliefs? CHRIS No. FEMALE DOCTOR What about your daughter? CHRIS No, why? CLINIC DIRECTOR Have you ever heard of exorcism? Chris looks at him baffled. CLINIC DIRECTOR It's a stylized ritual in which rabbis or priests try to drive out the so - called invading spirit. It's pretty much discarded these days, except by the Catholics who keep it in the closet as a sort of embarrassment. It has worked, in fact, although not for the reason they think, of course. It was purely the force of suggestion. The victim's belief in possession helped cause it ; and just in the same way this belief in the power of exorcism can make it disappear. CHRIS You're telling me that, I should take my daughter to a witch doctor? Is that it? The Clinic Director nods and looks at Chris.", "EXTERIOR PROSPECT STREET- MACNEIL HOUSE- DAY A car has pulled up and Karl is exiting the driver's seat and opening the rear door while Sharon exits on the right rear side. Karl reaches in and picks up a small figure -LRB- Regan -RRB- wrapped in a blanket from Chris' back seat.", "EXTERIOR M STREET- DAY Kinderman is examing the area where Burke was found dead. He walks to the steep concrete steps and looks up them. We feel and eerie atmosphere surounding these steps.", "INTERIOR MACNEIL HOUSE- REGAN'S BEDROOM- DAY Regan is tucked up in bed. Chris moves slowly forward to the bedside and looks down at Regan. Chris then leans and tenderly adjuts her pillow. In the process, she uncovers a crucifix under it. She lifts it out, examining it.", "EXTERIOR M STREET- DAY Kinderman begins to climb the stairs but stops and turns back. He looks down in a small ditch beside the steps. He clears the grass with his feet and reaches down for something. He picks up a small sculpture of an animal made of clay. He examines it and then climbs the steps.", "INTERIOR MACNEIL HOUSE- SECOND FLOOR HALLWAY- DAY Chris exits Regan's room and approaches Karl who is descending the stairs. Chris leans over the bannister. CHRIS Karl? Did you put this in Regan's bedroom? KARL She is going to be well? CHRIS Karl if you put this in Regan's room I want you to tell me, now did you? KARL No. It was n't me. I did n't.", "INTERIOR MACNEIL HOUSE- STUDY- DAY Chris has now confronted both Sharon and Willie in the study. She shows the crucifix to them. CHRIS This was under Regan's pillow. Did you put it there? SHARON Of course I did n't. WILLIE I did n't put it. Karl enters the room. KARL Excuse me Miss? CHRIS -LRB- shouting. -RRB- What! KARL A man to see you. CHRIS -LRB- shouting. -RRB- What man?", "INTERIOR MACNEIL HOUSE- FOYER- DAY Kinderman stands with his hat in his hand as Chris approaches.", "INTERIOR MACNEIL HOUSE- KITCHEN- DAY Chris and Kinderman both sit in the kitchen, coffee cups in hand. KINDERMAN Does your daughter remember if perhaps Mr. Dennings was in her room in her room that night? CHRIS No, she was heavily sedated. KINDERMAN It's serious? CHRIS Yes, I'm affraid it is. KINDERMAN May I ask? CHRIS We still do n't know. KINDERMAN Watch out for drafts. A draft in the fall when the house is hot is a magic carpet for bacteria. Karl enters the room. KARL Excuse me Madame? Will there be anything else? CHRIS No thanks Karl. Karl stands in the background. Chris turns to him. CHRIS It's okay Karl. Karl exits. KINDERMAN Strange. strange. so baffling. The deceased comes to visit, stays only twenty minutes, and leaves all alone a very sick girl. And speaking plainly Mrs. MacNeil, as you say, it's not likely he would fall from a window. Besides that, a fall would n't do to his neck what we found except maybe a chance in a thousand. My hunch? My opinion? I believe he was killed by a very powerful man : point one. And the fracturing of the skull - point two - plus the various things I have mentioned, would make it very probable - probable, not certain - that the deceased was killed and then pushed from your daughter's window. But no - one was here except your daughter. So how could this be? It could be one way : if someone came calling between the time Miss Spencer left and the time you returned. The servants, they have visitors? CHRIS No. Not at all, KINDERMAN You were expecting a deliver y that day? CHRIS Not that I know of. KINDERMAN Groceries maybe? A package? CHRIS I really would n't know, you see Karl takes care of that. KINDERMAN Oh, I see. CHRIS Want to ask him? KINDERMAN Never mind. Chris rises. CHRIS Would you like some more coffee? KINDERMAN Please. Kinderman follows Chris further into the kitchen. He notices some of Regan's artwork. He picks up a small sculpted Turtle and examines it. KINDERMAN That's cute. Chris looks over at Kinderman. KINDERMAN Your daughter, she's the artist? Chris smiles. She hands him the coffee. KINDERMAN Incidentally, just a chance in a million, I know ; but your daughter - you could possibly ask her if she saw Mr. Dennings in her room that night? CHRIS Look, he would n't have any reason to be up there in the first place. KINDERMAN I know that. I realize. But if a certain British doctor never asked `` What's this fungus?'' we would n't today have penicillin. Correct? CHRIS When she's well enough, I'll ask. KINDERMAN Could n't hurt. In the meantime. Kinderman falters, embarrassed. KINDERMAN I hate to ask you this but. for my daughter could you maybe give an autograph? CHRIS Of course. Have you got a pen? Kinderman pulls out a pen and a calling card and gives them to Chris. KINDERMAN Oh, she'd love it. CHRIS What's her name? Kinderman hesitates. His eyes are desperate and defiant. KINDERMAN I lied. It's for me. The spelling is on the back, Kinderman. You know that film you made called Angel? Isaw that six times. CHRIS Really? wow.", "INTERIOR MACNEIL HOUSE- FOYER- DAY Chris helps Kinderman put hic coat on. KINDERMAN You're a very nice lady. Chris gives his hat to him. KINDERMAN Thank you. CHRIS You're a nice man. Chris opens the front door. KINDERMAN I'll come back when she's feeling better. Kinderman exits and Chris closes the door an locks it. She holds her hands to her mouth and slowly walks away. We suddenly here a crash from Regan's room, followed by loud voices. REGAN Please! No! MALE VOICE Do it! REGAN Please no! MALE VOICE You bitch! Do it! Do it! Chris races up the stairs and runs to Regan's room. REGAN No! Please! No! Chris opens the door and sees objects rapdly flying around the room. We hear a last gasp scream from Regan untill Chris turns to Regan and covers her mouth with horror. REGAN/DEMON Let Jesus fuck you! Regan has the crucifix gripped in her hand and is plunging it into her bloodied vagina. There are fresh cuts all over her face, streaming with blood. REGAN/DEMON Let Jesus fuck you! Let him fuck you! Chris runs over to Regan and tries to pry the crucifix from her hand. They struggle for the crucifix. Regan then grabs Chris' head and pushes it into her bloodied crotch. REGAN/DEMON Lick me! Lick me! Chris' face emerges covered with Regan's blood. Regan slaps her mother and sends her flying to the floor. Chris screams in pain. Sharon and Willie race up the stairs. SHARON Chris? The door closes by itself being held shut by a chair. They both bag on the door to help her. Chris looks up to see that Regan's wardrobe is moving toward her. Chris scurries out of the way. We turn back to Regan who is sitting with her back to us, but she has spun her head in a 180 - degree angle, facing backward -LRB- Chris -RRB-. Chris looks up at her. REGAN/BURKE Do you know what she did, your cunting daughter? Chris turns away and screams, bursting into tears.", "EXTERIOR 35th STREET BRIDGE AND CANAL- DAY Chris is standing on the bridge alone. She's wearing oversized dark glasses. Father Karras approaches her, he is wearing khakis, sweater and sturdy, scuffled tennis shoes. KARRAS Chris MacNeil? CHRIS Please go away. KARRAS I'm Father Karras. Chris turns around and shakes his hand. CHRIS Oh, I'm very sorry Father. Hi. KARRAS That's okay. I should've told you I would n't be in uniform. CHRIS Yeah, it would've helped. Have you got ta cigarette Father? Karras seaches his pocket and pulls out a pack of cigarettes. Chris takes one and Karras lights it for her. They walk down the steps to the canal side. CHRIS So, how'd a shrink ever get to be a priest? KARRAS It's the other way around. The society sent me through med school. CHRIS Where? KARRAS Harvard, Bellevue, John Hopkins. CHRIS You're a friend of Father Dyer, right? KARRAS Yes am. CHRIS Pretty close? KARRAS Pretty close. CHRIS Did he tell you about my party? KARRAS Sure did. CHRIS About my daughter? KARRAS No I did n't know you had one. CHRIS He did n't mention? KARRAS No. CHRIS Did n't tell you of what she did? KARRAS He did n't mention her. CHRIS Priests keep pretty tight mouthed then? KARRAS That depends. CHRIS On what? KARRAS The priest. CHRIS I mean, what if a person, let's say, was a criminal, like maybe a murderer or something, you know? If he came to you for help, would you have to turn him in? KARRAS If he came to me for spritual help, I'd say no. CHRIS You would n't. KARRAS No I would n't. But I'd try to persuade him to turn himself in. CHRIS And how do you go about getting an exorcism? KARRAS I beg your pardon? CHRIS If a person was possessed by a demon of some kind, how do you go about getting an exorcism? KARRAS Well, the first thing I'd do is put them into a time macine and send them back to the sixteenth century. CHRIS I did n't get you? KARRAS Well it just does n't happen anymore Mrs. MacNeil. CHRIS Oh yeah, since when? KARRAS Since we learned about mental illness, paranoia, schizophrenia. All the things they taught me in Harvard. Mrs. MacNeil since the day I joined the Jesuits, I've never met one priest who has performed an exorcism, not one. CHRIS Yeah well, it just so happens that somebody very close to me is probably possessed, and needs an exorcist. Chris bursts into tears. CHRIS Father Karras it's my little girl. Karras grabs Chris' arm and walks her over to a bench. They both sit. Chris is still crying. KARRAS That's all the more reason to forget about exorcism. CHRIS Why, I do n't understand? KARRAS To begin with it could make things worse. CHRIS But how? KARRAS Well before the church approves an exorcism, it conducts an investigation to see if it's warranted. That takes time. In the meantime. CHRIS You could do it yourself. KARRAS No I could n't, I have to have church approval, and frankly, that's rarely given, - CHRIS Could you see her? KARRAS Yes I could, I could see her as a psychiatrist. CHRIS Not a psychiatrist! She needs a priest! She's already seen every fucking psychiatrist in the world and they sent me to you, now you're gon na send me back to them! Jesus Christ, wo n't somebody help her! KARRAS No, you do n't understand. Your daughter - CHRIS Oh, will you help her! Just help her! Chris bursts into tears again and buries her head into Karras shoulder. Karras puts his arm around her.", "INTERIOR MACNEIL HOUSE- STAIRCASE- DAY Chris and Karras are ascending the staircase. When they reach the door we see Karl holding a huge headboard with straps and padding on it. KARL It wants no straps. Karras stares at him, then gives Chris a look. He plucks up his courage and enters the room.", "INTERIOR MACNEIL HOUSE- REGAN'S BEDROOM- DAY Karras stops as he sees Regan, on the bed, arms held down by a set of restraining straps, it seems no longer entirley Regan but something somehow demonic that now lies on the bed and stares at him. Her face is puffy, scratched and bruised from self - mutilation. There is a sustagen flask used for a naso - gastric feeding, the tube is placed up her left nostril. Karras is momentarily taken aback. Then, reining in his revulsion, he slowly and warily closes the door behind him, and walks around the other side of the bed. KARRAS Hello Regan. I'm a friend of your mother, I'd like to help you. REGAN/DEMON You might loosen the straps then. KARRAS I'm affraid you might hurt yourself Regan. REGAN/DEMON I'm not Regan. KARRAS I see. Well then let's introduce ourselves, I'm Damien Karras. REGAN/DEMON And I'm the Devil! Now kindly undo these straps! KARRAS If you're the devil, why not make the straps disappear? REGAN/DEMON That's much to vulgar a display of power Karras. KARRAS Where's Regan? REGAN/DEMON In here. With us. KARRAS Show me Regan and I'll loosen one of the straps. REGAN/HOMELESS GUY Can you help an old altar boy Fa - dah? Karras looks at Regan. He's puzzled by what she has just said. He sits down on a chair beside the window. REGAN/DEMON Your mother's in here with us Karras, would you like to leave a message? I'll see that she gets it. KARRAS If that's true, then you must know my mother's maiden name. What is it? Regan keeps a sharp stare on Karras. Karras' smile turns to an angry stare. He rises and moves to her bed side. KARRAS What is it? Regan leans forward a vomits a disgusting, green bile in Karras' face. Karras wipes it off, coughing. Regan keeps her eyes fixed on him, with green vomit covering her night gown.", "INTERIOR MACNEIL HOUSE- BASEMENT- EARLY EVENING Karras is looking through some of Regan's drawings. Chris approaches him with his sweater, now clean. She hands it to him. KARRAS Thanks. Look, I'm only against the possibility of doing your daughter more harm than good. CHRIS Nothing you could do would make it any worse. KARRAS I ca n't do it. I need evidence that the church would accept as signs of possession. CHRIS Like what? KARRAS Like her speaking in a language that she's never known or studied. CHRIS What else? KARRAS I do n't know. I'll have to look it up. CHRIS I thought you were supposed to be an expert. KARRAS There are no experts. You probably know as much about possession than most priests. Look your daughter does n't say she's a demon, she says she's the devil himself and if you've seen as many psychotics as I have, you'd know it's like saying you're Napoleon Bonaparte. You ask me what I think is best for your daughter. Six months, under observation in the best hospital you can find. CHRIS You show me Regan's double : same face, same voice, same everything. I'd know it was n't Regan. I'd know in my gut and I'm telling you that that thing upstairs is n't my daughter! And I want you to tell me that you know for a fact that there's nothing wrong with my daughter except in her mind! You tell me you know for a fact that an exorcism would n't do any good! You tell me that!", "EXTERIOR MACNEIL HOUSE- NIGHT Chris opens the door for Karras. He steps out on the stoop carrying his sweater. KARRAS Did Regan know a priest was coming over? CHRIS No. KARRAS Did you know my mother died recently? CHRIS Yes I did, I'm sorry. KARRAS No, is Regan aware of it? CHRIS Not at all. Why d'you ask? KARRAS It's not important good night. Karras exits the gates and crosses the street. We cut to Kinderman in an unmarked car watching Karras cross the street. Kinderman then looks up to Regan's window and sees a silohette moving around.", "INTERIOR UNIVERSITY OF WASHINGTON- DAHLGREN CHAPEL- DAY Karras is performing a service in the church. KARRAS He broke the bread, gave it to his disciples and said `` Take this, all of you and eat. For this is my body.'' When the supper had ended, he took the cup, again he gave you thanks and praise. Gave the cup to his disciples and said `` Take this, all of you will drink from it, this is the cup of blood, the blood of the new and ever lasting covenant and the mystery of faith''. REGAN/DEMON -LRB- Voice Over. -RRB- What an excellent day for an exorcism.", "INTERIOR MACNEIL HOUSE- REGAN'S BEDROOM- DAY Karras pulls a tape recorder out of his bag and props an microphone on her bed near her. Karras sits on a chair next to her wardrobe. KARRAS You'd like that? REGAN/DEMON Intensely. KARRAS But would n't that drive you out of Regan? REGAN/DEMON It would bring us together. KARRAS You and Regan? REGAN/DEMON You and us. The bureau drawer flies open on it's own. KARRAS Did you do that? REGAN/DEMON Uh Huh. Karras pushes the drawer back in. KARRAS Do it again. REGAN/DEMON In time. KARRAS No now. REGAN/DEMON In time. But mirabile dictu, do n't you agree? Karras presses record on the tape recorder. KARRAS You speak Latin? REGAN/DEMON Ego te abslovo. KARRAS Quod nomen mihi est? REGAN/DEMON Bon Jour. KARRAS Quod nomen mihi est? REGAN/DEMON La plume de ma tante. The demon laughs full and mockingly. KARRAS How long are you planning to stay in Regan? REGAN/DEMON Until she rots and lie stinking in the earth. Karraspulls out a small vial of water. REGAN/DEMON What's that? KARRAS Holy water. Karras moves to the end of the bed. REGAN/DEMON You keep it away. Karras uncaps the vial and now sprinkles it's contents over Regan. Instantly, Regan writhes in pain and terror. REGAN/DEMON Ahhhhhhhhhhh! Ahhhhhhh! It burns! Ohhhh! It burns! Regan's head falls back onto the pillow as she rolls her head from side to side shouting out indistrict gibberish : REGAN/DEMON Emit su evig! Karras is intrigued and sits on the bed beside her. He moves the microphone up to her mouth an listens. REGAN/DEMON Ydob eht ni mraw si ti! Uoy ees I! Tseirp a si eh! Emit su evig! Nirrem! Nirrem! KARRAS Who are you? REGAN/DEMON Tseirp a si eh! Eno on ma I! Eno on ma I! Ahhhhhhhhhhh!", "INTERIOR MACNEIL HOUSE- STUDY- DAY We see Karras descending the stairs as we hear Chris on the phone with someone. Karras waits outside until Chris is finished. CHRIS -LRB- on the phone. -RRB- Okay, I'll talk to you some other time. No it's just that I'm going through something and. No, no there's nothing. Thanks alot. Bye. Chris hangs up the phone. Karras enters and sits on the couch. CHRIS Wan na drink. KARRAS Please. CHRIS What do you drink? Chris walks to the drinks cabinet. KARRAS Scotch, Ice, water. Chris pours the drink. CHRIS No ice. I'll get some from the kitchen. Chris walks toward the kitchen but Karras stops her. KARRAS No it's alright I'll take it straight. CHRIS Are you sure? KARRAS It's fine really, sit. Chris sits down. KARRAS Where's Regan's father? CHRIS In Europe. KARRAS Have you told him what's happening? CHRIS No KARRAS Well I think you should. He holds up the empty vial. KARRAS I told Regan that was holy water, I sprinkled some on her and she reacted very violently. It's tap water. CHRIS What's the difference? KARRAS Holy water's blessed. And that does n't help support a case for possession. Chris turns her head away and frowns. She looks at Karras again. CHRIS -LRB- whispering. -RRB- She. killed Burke Dennings. KARRAS What? CHRIS She killed Burke Dennings. She pushed him out of the window. Karras looks shocked.", "INTERIOR LANGUAGE LAB- NIGHT Karras is with the lab director. They are listening to Karras recording of Regan. Karras is tense. The director stops the tape. LAB DIRECTOR It's a language alright. It's english. Karras stands up. KARRAS What do you mean english? LAB DIRECTOR It's english in reverse, listen. The lab director throws a switch and the tape starts again, in perfect english. REGAN/DEMON -LRB- tape. -RRB- Give us time! Let her die!", "INTERIOR KARRAS' ROOM- NIGHT Karras is listening to the eerie, unearthly voices on the tape. REGAN/DEMON -LRB- tape. -RRB- I am no one! I am no one! He is a priest! KARRAS -LRB- tape. -RRB- Uoy era ohw. REGAN/DEMON -LRB- tape. -RRB- Merrin! Merrin! Karras stops the tape and rewinds it slightly. He plays it again. REGAN/DEMON -LRB- tape. -RRB- I am no one! I am no one! He is a priest! KARRAS -LRB- tape. -RRB- Uoy era ohw. The phone rings and startles him. He answers the phone. KARRAS -LRB- on phone. -RRB- Yeah, yes? I'll be right there.", "EXTERIOR PROSPECT STREET- NIGHT It's very late, Karras is running down the street. He comes to the gate of the MacNeil house. Sharon opens the gate. She's holding a flashlightand she puts her finger on her lips for quiet.", "INTERIOR MACNEIL HOUSE- STAIRWAY- NIGHT They both ascend the stairs and creep toward Regan's room. SHARON -LRB- whispering. -RRB- I do n't want Chris to see this. KARRAS Well what's wrong? What is it? They stop at Regan's door. Sharon puts her coat on and turns on the flash light. She opens the door and they enter.", "INTERIOR MACNEIL HOUSE- REGAN'S BEDROOM- NIGHT Sharon closes the door behind them. Karras reacts to the extreme cold. His breath, like Sharon's, is frosttily condensing in the chill air of the room. He looks at Sharon with wonder. They both approach the bedside. They stop by the bed. Regan seems to be in a coma, heavily breathing. Sharon is bending, gently pulling Regan's pajama top wide apart, exposing Regan's stomach. Sharon points the flashlight at Regan's stomach. Karras looks in shock when we see on her stomach, rising up slowly on her skin are two words HELP ME. Karras' eyes are fixed on these two words as we once again see them on Regan's stomach.", "INTERIOR HEALY BUILDING- GROUND FLOOR HALLWAY- DAY Karras walks down the hall toward the stairway. He climbs the stairs and we follow him to the top.", "INTERIOR HEALY BUILDING- CARDINAL'S OFFICE- DAY In the room, Karras and the Cardinal. CARDINAL You're convinced that it's genuine. KARRAS I do n't know. No, not really I suppose. But I've made a prudent judgement that it meets the conditions set down in the Ritual. CARDINAL You'd want to do the exorcism yourself? KARRAS Yes. CARDINAL It might be best to have a man with experience. Maybe someone who's spent time in the foreign missions. KARRAS I see, your excellency. CARDINAL Let's see whose around. In the meantime I'll call you as soon as I know. KARRAS Thank you your excellency. Karras stands up and kisses the Cardinal's hand.", "INTERIOR GEORGETOWN UNIVERSITY PRESIDENT'S OFFICE- DAY PRESIDENT Well, he does know the background. I doubt there's any danger in just having him assist. There should be a psychiatrist present, anyway. CARDINAL And what about the exorcist? Any ideas? PRESIDENT How about Lankaster Merrin. CARDINAL Merrin? I had notion he was over in Iraq. I think I read he was working on a dig around Nineveh. PRESIDENT That's right Mike. But he's finished and came back around three ot four months ago, He's in Woodstock now. CARDINAL What's he doing there? Teaching? PRESIDENT No, he's working on another book. CARDINAL Do n't you think he's too old, though? How's his health? PRESIDENT It must be alright. He's still running around digging up tombs. Besides, he's had experience. CARDINAL I did n't know that. PRESIDENT Ten maybe twelve years ago, in Africa. The exorcism supposedly lasted for months. I heard it damn near killed him.", "EXTERIOR PROSPECT STREET- MACNEIL HOUSE- NIGHT A cab pulls up to the house in long shot. Out of the cab steps a tall, old priest, carrying a battered valise. A hat obscures his face. As the cab pulls away, the priest stands rooted in the mist, staring up at the second floor window like a melancholy traveler frozen in time.", "INTERIOR MACNEIL HOUSE- FRONT DOOR- NIGHT Chris opens the door, disclosing the priest, face still shaded by the hat, and Roman collar by coat buttoned at the top. MERRIN Mrs. MacNeil? CHRIS Yes. MERRIN I'm Father Merrin. CHRIS Come in. Merrin takes off his hat and coat. MERRIN Is Father Karras here? Karras enters the foyer. Chris takes Merrin's hat and coat. CHRIS Yes. He's already here. KARRAS Father? Merrin walks over to greet Karras. MERRIN Father Karras. They shake hands. KARRAS It's an honour to meet you Father. They both look up as the scream of the demon, booming, amplifying, comes from Regan's room. REGAN/DEMON MERRIN! MERRIN Are you tired? KARRAS No. MERRIN I would like you to go quickly over to the resdence Damien, and gather up a cassock for myself, two surplices, a purple stole, and some holy water, and your copy of The Roman Ritual. The Large one. I believe we should begin. KARRAS Do you want to hear the background of the case, first? MERRIN Why?", "EXTERIOR UNIVERSITY STEPS-NIGHT Karras is running down the steps carrying a the cassocks and a large case. MERRIN -LRB- Voice Over. -RRB- Especially important is the warning to avoid conversation with the demon.", "INTERIOR MACNEIL HOUSE- STUDY- NIGHT Karras and Merrin are dressing in vestments taken from the case. MERRIN We may ask what is relevant, but anything beyond that is dangerous. He is a liar, the demon is a liar. He will lie to confuse us. But he will also mix lies with the truth to attack us. The attack is psychological, Damien. And powerful. So do n't listen, remember that, do not listen. KARRAS I think it would be helpful if I gave you some background on the different personalities Regan has manifested. So far, there seems to be three. She's convinced - MERRIN There's only one.", "INTERIOR MACNEIL HOUSE- SECOND FLOOR LANDING- NIGHT Merrin and Karras, fully vested, Roman Rituals in hand, slowly ascend the stairs in single file. We can hear the demon making horrible, growling noises in the room. The priests approach Chris and Sharon, bundled in sweaters. The priests halt, and look at Chris.", "INTERIOR MACNEIL HOUSE- REGAN'S BEDROOM- NIGHT Merrin opens the door and sees Regan staring at him with burning eyes. Merrin steps into the room follwed by Karras. Karras closes the door on Chris before she walks in. Merrin walks to the side of the bed and Karras halts at the foot. -LRB- the room is freezing. Breath is condensing throughout -RRB-. Merrin lays his holy water on the bedside table, takes a crucifix out of a leather case. He then traces the sign of the cross at Regan. She looks up. REGAN/DEMON Stick your cock up her ass! You mother fucking, worthless cocksucker! MERRIN Be silent! Merrin sprinkles some holy water on her. She throws her head back and crys in pain. Merrin leans down beside her and opens up The Roman Ritual. MERRIN Our Father who art in heaven. Regan spits and hits Merrin in the eye with a yellowish glob of mucus that slowly oozes down his cheek. Karras quickly hides behind the bed post as Merrin pulls out a handkerchief and unhurriedly wipes away the spittle : MERRIN Hallowed be thy name. Thy kingdom come, thy will be done, on earth as it is in heaven. Give us this day, our daily bread, and forgive us our trespasses, as we forgive those who trespass against us. And lead us not into temptation. KARRAS But deliver us from the evil one. Regan is coughing and groaning as the two priests continue with the ritual. MERRIN Save me o' God by thy name, by thy might defend my cause, proud men have risen up against me, men of violence seek my life, but God is my helper, the Lord sustains my life and every need he has delivered to me, glory be to the Father, the Son and the Holy Spirit. KARRAS As it was in the begin is now and ever shall be, world without end, amen. MERRIN Save your servant KARRAS Who places her trust in thee, my God. MERRIN Be unto her o' Lord a fortified tower. KARRAS In the face of the enemy. Regan raises her head and screams at Merrin several times. MERRIN Let the enemy have no power over her. KARRAS And the son of iniquity be powerless to harm her. REGAN/DEMON Your mother sucks cocks in hell Karras, you faithless slime! MERRIN O'Lord hear my prey. KARRAS And let my cry come unto thee. MERRIN The Lord be with you. KARRAS And also with you. MERRIN Let us pray. Holy Lord, almighty Father, everlasting God and Father of our Lord Jesus Christ, who once and for all consigned that fallen tyrant to the flames of hell. Who sent your only begotten son into the world to crush that roaring lion. Regans bed begins to jump up and down, crashing onto the floor. Regan continues to scream at the two priests. MERRIN Hasten to our call for help and snatch from ruination and from the clutches of the noonday devil, this human being made in your image and likeness. Strike terror Lord, into the beast, now laying waste your vineyard, let your mighty hand cast him out of your servant, Regan Teresa MacNeil, so he may no longer hold captive this person, whom it pleased you to make in your image. Merrin sprinkles more holy water on Regan. She falls back crying in pain. MERRIN and to redeem through your son. Who lives and reigns with you, in the unity of the holy spirit, God forever and ever. KARRAS Amen MERRIN O'Lord hear my preyer. To Karras' amazement the bed begins to rise. Merrin waits for Damien's reponse, but Karras is frozen with shock as the bed rises past his face. MERRIN Father Karras? Father Karras? Damien? The reponse please Damien! KARRAS And let my cry come unto thee. The bed crashes back to the floor. Regan still screams and writhes in pain. MERRIN Almighty Lord, word of God the father Jesus Christ, God and Lord of all creation, who gave to your holy apostle the power to tramp underfoot serpents and scorpions. Grant me, your unworthy servant pardon for all my sins. REGAN/DEMON Bastards! Stop! Regan stares at Father Karras and snakes her abnormaly long tongue in and out at him. MERRIN and the power to confront this cruel demon. KARRAS Amen Regan falls back on her pillow and begins to groan. Both priests trace the sign of the cross. Merrin holds his purple stole to Regan's cheek as green vomit slowly oozes from her mouth. Regan turns her head and vomits on the stole. MERRIN See the cross of the Lord. Be gone you hostile power. O'Lord hear my prayer. KARRAS And let my cry come unto thee. MERRIN The Lord be with you. KARRAS And also with you. Merrin takes the bile covered stole from around his neck and hands it to Karras who quickly washes it in Regan's bathroom. We hear banging, as cupboard doors open against the wall. Regan is flat on her back laughing wickedly. Merrin holds his hands to his ears because of the noise. Karras hands the stole back to Merrin, who kisses it before applying around his neck. Regan continues to laugh as Merrin begins to cough violently. MERRIN I cast you out! Unclean spirit! REGAN/DEMON Shove it up your ass you faggot! MERRIN in the name of the Lord Jesus Christ! It is he who commands you! He who flung you from the heights of Heaven to the depths of hell! REGAN/DEMON Fuck him! MERRIN Be gone! REGAN/DEMON Fuck him Karras! Fuck him! MERRIN from this creature of God! Regan lays back as Merrin races to her bedside tracing the sign of the cross with his fingers in her hair. MERRIN Be gone! In the name of the Father, and of the son, and of the holy spirit! By this sign of the holy cross, of our Lord Jesus Christ, who lives and reigns with the father and the holy spirit. Regan sits up and with a nightmare slowness, a fraction at a time, her head begins to turn, swiveling like a mannequin's and creaking with the sound of a rusted mechanism. Once again Damien's attention is diverted and Merrin has to prompt him. MERRIN Damien! Her head completly turns in a 360 - degree turn and stares at Karras. KARRAS Amen. MERRIN Defender of the human race. A thunderous earthquake knock both priests to the ground. MERRIN look down in pity. REGAN/DEMON You killed your mother! You left her alone to die! She'll never forgive you! Bastard! KARRAS Shut up! MERRIN upon this your servant, Regan Teresa MacNeil. Another quake knocks them to the ground. Regan falls back, the bed sheets fly off of the bed and the straps slowly rip apart. Regan's eyes roll back into the socket and she slowly starts to levitate. MERRIN I command you by the judge of the living and the dead, to depart from this servant of God. Regan is now levitating toward the celing, arms out stretched like a cross. MERRIN It's the power! -LRB- To Karras. -RRB- - Holy water. Karras runs to the bedside table and grabs the bottle of holy water, he runs back and gives it to Merrin. MERRIN It's the power of Christ, that compels you. MERRIN + KARRAS The power of Christ compels you. Merrin sprinkles holy water. MERRIN + KARRAS The power of Christ compels you. Merrin sprinkles holy water and we see a cut appear on her skin. MERRIN + KARRAS The power of Christ compels you. The power of Christ compels you. The power of Christ compels you. The power of Christ compels you. Regan begins to descend. MERRIN + KARRAS The power of Christ compels you. The power of Christ compels you. The power of Christ compels you. The power of Christ compels you. The power of Christ compels you. The power of Christ compels you. The power of Christ compels you. Regan lands back on the bed once more. MERRIN + KARRAS The power of Christ compels you. Karras rushes to the bed and ties her hands together to symbolize the cross. MERRIN He brought you low by his bloodstained cross! Do not despise my command because you no me to be a sinner. It's God himself who commands you! The majestic Christ who commands! God the Father commands you! God the son commands you! As Karras turns away, Regan raises her tied hands and deals him a powerful blow on the back of his head. He falls to the floor. MERRIN God the holy spirit commands you! Merrin sprinkles more holy water on Regan, she falls back and screams in pain. MERRIN The mystery of the cross commands you! The blood of the martyrs commands you! The priests are again knocked to the floor by an earthquake. Briefly Regan lifts herself toward an apparition of the demon statue Pazuzu. MERRIN Give way to Christ, you prince of murderers. You're guilty, before Almighty God, guilty before his son, guilty before the whole human race. It's the Lord who expels you. He who is coming to judge both the living and the dead and the world by fire. As Merrin kneels by the bed, Karras crawls over and covers Regan with a blanket. MERRIN Are you tired? Karras nods. MERRIN Let's rest before we start again. Merrin leaves the room, but Karras stays sat on the bed, shivering with both coldness and fear. Regan is asleep.", "INTERIOR MACNEIL HOUSE- SECOND FLOOR HALLWAY- STAIRS- NIGHT An exhausted Merrin and Karras are sitting in the hallway, on the stairs, outside the bathroom. KARRAS Why this girl it makes no sense? MERRIN I think the point is to make us dispair. To see our selves as. animal and ugly. To reject the possibillity that God could love us. MERRIN Will you excuse me, Damien? Merrin rises and moves toward the bathroom.", "INTERIOR MACNEIL HOUSE- BATHROOM- NIGHT Merrin sits on the toilet and takes out his pilbox. He extracts a nitorglycerin tablet and places it under his tongue. He is shaking with fear as he holds his head with exhaustion.", "INTERIOR MACNEIL HOUSE- SECOND FLOOR HALLWAY- NIGHT Karras moves back toward the bedroom and enters.", "INTERIOR MACNEIL HOUSE- REGAN'S BEDROOM- NIGHT Karras is shocked to see an instant apparition of his mother, laying on the bed in place of Regan. It vanishes. He moves toward Regan, who is shivering and drenched with sweat. REGAN/MRS. KARRAS KARRAS says. Dimmy, why you did this to me? Karras gets out a stehoscope and places it on Regan's chest. REGAN/MRS. KARRAS KARRAS says. Please Dimmy, I'm affraid. KARRAS You're not my mother. REGAN/MRS. KARRAS KARRAS says. Dimmy please! Merrin re - enters the room. MERRIN What is it? KARRAS Her heart. MERRIN Can you give her something? KARRAS She'll go into coma. Regan, in the voice of Karras' mother, speaks a few pleading phrases in Greek to Karras. KARRAS -LRB- shouting. -RRB- You're not my mother! MERRIN Do n't listen. REGAN/MRS. KARRAS KARRAS says. Why, Dimmy? Damien breaks into convulsive sobbing. MERRIN Damien. REGAN/MRS. KARRAS KARRAS says. Dimmy, please! MERRIN Damien! Get out! Damien arises from the bed. Merrin leads him out, and then re - enters the room himself. He sprinkles some holy water on Regan and kneels at her side. He holds her hand tightly. MERRIN Our Father, who art in heaven.", "INTERIOR MACNEIL HOUSE- FOYER- NIGHT Downstairs Karras sits brooding as Chris enters. CHRIS Is it over? Karras shakes his head negatively. CHRIS Is she gon na die? KARRAS -LRB- firmly. -RRB- No. He rises and starts ascending the stairs with renewed conviction. The doorbell rings and Chris moves toward the door. Before opening she applies the chain lock on. She opens the door slowly and we see Kinderman staring at her from the gap.", "INTERIOR MACNEIL HOUSE- REGAN'S BEDROOM- NIGHT Karras re - enters Regan's room and sees Merrin face down on her bed. Regan is sitting up against the bottom right hand bed post as Karras pulls Merrin to the floor. Karras feels for Merrin's pulse, then tries frantically to pump life back into the priest with blows to his chest, but gives up when he realises Merrin is dead. He hears a giggle and turns to Regan. KARRAS You son of a bitch! He grabs her and pulls her to the floor. He begins to punch her in the face and head, then shakes her and nearly strangles her in his fury. KARRAS Take me! Come into me! God damn you! Take me! Take me! A gargantuan struggle is visible in the demonic features of Regan's face. His face has taken on a demonic shade, and his eyes have turned bright green. She screams out as Karras' body jerks back, apparently manipulated by some inner force, which now reaches toward Regan to strangle her. Karras fights the force for control of his body, and he screams, compelling it toward the window. KARRAS No! With his last angiushed cry, Karras leaps out of the window. We see him roll down the concrete steps outside and hit the floor at the bottom. His cry was immediatly followed by frightened sobs and whimpers that are unmstakably those of an ordinary little girl. REGAN -LRB- crying. -RRB- Mother. Mother. Mother. Mother. Chris rushes in and pauses to make sure that it's really Regan again. She's follwed in by Kinderman. CHRIS Rags? She dashes over to where her daughter is cowering on the floor. She flings herself down on top of Regan, cradling her and crying in hysterical relief, as Kinderman looks at Karras' body from the window, looks at Merrin's dead body on the floor and then looks at Chris and Regan.", "EXTERIOR M-STREET- STEPS- NIGHT A crowd is gathering at the scene of an accident. Their attentionis focused by a man lying in a pool of blood on the pavement at the foot of the steps under Regan's window. BYSTANDER Somebody fell at the bottom of the steps here! Father Dyer pushes through the crowd and kneels beside Karras. Fighting back tears, he grasps Karras' hand and leans close to whisper in his ear. FATHER DYER Do you want to make your confession? Are you sorry -. -LRB- his voice catches. -RRB- Are you sorry for having offended God, with all the sins of your past life? -LRB- he breaks down for a moment, then starts administiring the last rites. -RRB- Ego to abslovo in nomine patris, et filli, et spiritus sancti. Amen. As a wailling siren signals the approach of an ambulance, Dyer weeps openly.", "EXTERIOR PROSPECT STREET- TOP OF STEPS- DAY On a bright, sunny day, we are looking down the steps which are now clean. No blood, or body at the bottom.", "INTERIOR MACNEIL HOUSE- DINING ROOM- DAY Sharon and Chris are briskly packing up last minute items before moving out. SHARON Where do you want this? CHRIS What is it? SHARON Phonograph. CHRIS Storage. Sharon puts in in one of the large cardboard boxes that are standing about. CHRIS I'm gon na miss you. SHARON Me too. CHRIS Sure you wo n't change your mind? Sharon shakes her head. She reaches into her pocket and hands Chris the St. Joseph medal. SHARON I found this in her room. Chris puts in her pocket. SHARON That's everything. Chris hugs her. She pulls away and walks to the foot of the stairs. CHRIS Regan! C'mon honey we have to get going!", "EXTERIOR MACNEIL HOUSE- PROSPECT STREET- DAY We see Karl is loading the car with cases. Father Dyer is standing outside the gates. Chris exits the house and Dyer moves toward her. CHRIS She does n't remeber a thing. FATHER DYER That's good. Regan exits the house and walks to Chris. REGAN All done. CHRIS Honey this is Father Dyer. REGAN Hi Father. DYER Hello. KARL Ready Mrs. Chris shakes Father Dyer's hand. CHRIS Goodbye Father. I call you. FATHER DYER Okay. Chris gets into the car, but Regan stands staring at Dyer's collar. She leans forward and kisses Father Dyer on the cheek. Not sure of what she has done, she retreats to the car. The car drives out to the street and Father Dyer waves goodbye. Father Dyer walks out and Willie closes the gates. FATHER DYER Goodbye. WILLIE Good bye Father. FATHER DYER I hope to see you again soon, WILLIE I hope so too. The car stops and we hear Chris call. CHRIS Father Dyer? Dyer rushes to the car. CHRIS I thought you'd like to keep this. She hands him Karras' St. Joseph medal. Dyer clutches it tightly. The car drives on, and Dyer watches it drive off. Dyer walks down toward the top of the M Street Steps. He looks down them and frowns, we see Regan's window in the background, boarded up. Dyer then turns away and walks back to Prospect Street. As he turns the corner he sees Kinderman standing outside the house. FATHER DYER Lieutenant? KINDERMAN I came to say goodbye. FATHER DYER You just missed them. KINDERMAN How's the girl? FATHER DYER She seemed fine. KINDERMAN Ah, that's good. That's all that's important. Back to business. Back to work. Bye now, Father. FATHER DYER Good bye. They both walk their separate ways. Kinderman stops. KINDERMAN Father Dyer? Dyer turns back to him. KINDERMAN Do you like films? FATHER DYER Sure. KINDERMAN I get passes. In fact I got a pass for The Crest tomorrow night. Would you like to go? FATHER DYER What's playing. KINDERMAN Withering Heights. FATHER DYER Who's in it? KINDERMAN Heathcliff, Jackie Gleason, and in the role of Catherine Earnshaw, Lucille Ball. FATHER DYER I've seen it. KINDERMAN Another one. Had your lunch? FATHER DYER No. Kinderman loops his arm around Dyer's. They start to walk off. KINDERMAN I'm reminded of a line in the film Casablanca. At the end Humphrey Bogart says to Claude Rains,'' Louie - I think this is the begining of a beautiful friendship.'' DYER You know you look a bit like Bogart. KINDERMAN You noticed. We fade out as Tubular Bells starts to play. FADE TO BLACK The music changes to the loud Fantasia For Strings. THE EXORCIST" ]

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[ "GET SHORTY BLACK MAN'S VOICE Looks fuckin' cold out there.", "EXT. VESUVIO'S RESTAURANT -- MIAMI DAY It is cold. People walk by hugging themselves, pulling up their collars, etc..", "INT. VESUVIO'S RESTAURANT -- SAME TIME CHILI PALMER, late thirties, sits in a booth with TOMMY CARLO, a low level mob type. Chili smokes a cigarette, stares out the window at the people on the street. TOMMY Guy on the radio said it's gon na get down to thirty - four. Chili watches a woman on the sidewalk pause to tighten the scarf around her neck. She looks in the window, sees Chili looking out. TOMMY Thirty - four - that's freezing, for Christ sake. -LRB- then. -RRB- Yo, Chili, you're spacin'. Chili turns and studies Tommy a moment, then. CHILI They're closing the Granview. You know, theater down on Biscayne? TOMMY Yeah, the guy owes Momo a few G's. CHILI What I'm thinkin' is maybe Momo could buy it. Tommy looks at him. CHILI Momo could buy it, I could run it for him. Show some Cagney films. TOMMY What's Momo gon na want with an old place, shows old movies people do n't care about no more. Outside of maybe turnin' it into a porno house, I do n't think he's gon na give much of a fuck. And you already got a job. Chili looks back out the window again. CHILI Yeah. We hear LAUGHTER O. S. and then FOCUS on the window so that Chili can now see a GROUP OF MEN reflected there, sitting at a table nearby. We hear MORE LAUGHTER and now Chili turns and looks over at. RAY `` BONES'' BARBONI Mob guy tall, loud suit with lots of jewelry. As he gets up from the table, the other men around the table follow his lead as he finishes up some jokes. MOB GUY so the guy says, I'm not the tailor, I'm the undertaker. The men laugh again, more out of respect than appreciation. Ray Bones turns, sees. CHILI and Tommy sitting in their booth. Tommy, sucking on a toothpick, waves. TOMMY Ray. How you doing? RAY BONES Okay, Tommy. You? TOMMY Okay. Bones focuses on Chili, waits for acknowledgement. But Chili turns back to the window. Always the peacemaker, Tommy smiles at Bones again. TOMMY You believe this weather, Ray? Miami Beach, for Christ's sake. RAY BONES -LRB- ignoring him. -RRB- Chili Palmer. -LRB- smiles. -RRB- Chilly outside. Chili inside. It's a regular fuckin' chili - fest. Hey, waiter - give Mr. Chili Pepper a big fuckin' bowl of chili! Again the men all laugh respectfully at Ray Bone's stupid joke. Chili smiles the best he can at the idiot. CHILI Good to see you, Ray. He turns back to the window, watches Ray Bones in the reflection, still cracking up as he and his men head for the front of the restaurant. Tommy looks at Chili for a moment, then stands up. TOMMY You done starin' out the window, I'll see you back at the office. Chili nods, but still does n't turn from the window. He merely watches in the glass as Tommy turns up his collar and steps out into the cold Miami day. TOMMY Jesus. It's freezin'! Chili then puts out the cigarette, nods to the waiter who comes over with the check.", "INT. RESTAURANT COATROOM -- A FEW MINUTES LATER From inside the tiny room. A couple of ratty rain coats and an old flight jacket hang to one side in immediate f.g. as Chili steps into the doorway and freezes. He looks o.s. and whistles. CHILI Hey. A moment later the MANAGER, an old Italian guy in a black suit, joins him in the doorway. CHILI What happened to my coat? The Manager peers into the room. MANAGER It's not one of these? CHILI You see a black leather jacket, fingertip length, like the one Pacino wore in Serpico? You do n't, you owe me three seventy - nine. MANAGER Maybe you do n't see my sign? The manager points to a sign on the wall ` WE CAN NOT BE RESPONSIBLE FOR LOST ARTICLES.' CHILI Look, I did n't come down to sunny Florida to freeze my ass. You follow me? You get the coat back or you give me the three seventy - nine my ex - wife paid for it at Alexander's. The Manager looks o.s., and begins speaking in Italian. Chili reacts as we hear the name RAY BARBONI mentioned a couple of times. MANAGER Explain to him how Mr. Barboni borrow the coat. A WAITER joins Chili and the Manager in the doorway. CHILI Ray Bones took my coat? Just now? WAITER He did n't take it. He borrow it. See, someone took his coat, you know. -LRB- indicates flight jacket. -RRB-. leave this old one. So Mr. Barboni, he put on this other coat that fit him pretty good. CHILI You mean my coat. WAITER He was wearing it, you know, to go home. He was n't gon na keep it. CHILI My car keys were in that coat. MANAGER We call you a taxi. CHILI Lem me get this straight. You are n't responsible for any lost articles like an expensive coat of mine, but you're gon na find Ray Bones' coat or get him a new one? Is that what you're telling me? MANAGER Mr. Barboni a good customer. -LRB- making sure to add. -RRB- Works for Jimmy Capp. CHILI I know who he works for. Where's your phone.", "INT. TOMMY CARLO'S CAR -- DAY Tommy drives. Chili stares straight ahead, rubs his hands together, tries to stay warm. TOMMY You sure it was Ray Bones took the coat? CHILI That's what the guy said. TOMMY -LRB- nervous now. -RRB- Tomorrow, I see on the TV weather, it's gon na be nice and warm. You wo n't need the coat. Chili points out the window. CHILI This is it.", "EXT. VICTOR HOTEL -- DAY As Tommy pulls up out front.", "INT. CAR -- SAME TIME Tommy looks up at the hotel as Chili takes a pair of leather gloves from top of the dash, opens the door. Tommy looks over at him. TOMMY Hey, Chili. -LRB- Chili pauses. -RRB- Get your coat, but do n't piss the guy off, okay? It could get complicated and we'd have to call Momo to straighten it out. Then Momo gets pissed for wasting his time and we do n't need that. CHILI Do n't worry about it. I wo n't say any more than I have to, if that.", "EXT. STAIRS -- DAY Chili pulls on the gloves as he goes up the stairs to the third floor.", "EXT. DOOR -- DAY As Chili knocks on the door three times. He waits, pulls the right - hand glove on tight, so that when RAY BONES opens the door, Chili nails him. One punch. No need to throw the left. RAY BONES Jesus. Oh, God. Chili then steps over him into the room and grabs his coat from a chair. He looks over at Ray Bones bent over, blood running from his nose and mouth, blood all over his hands, his shirt. RAY BONES Fuck, man. Chili walks out. Does n't say one word to Ray Bones.", "EXT. BARBER SHOP -- DAY A warmer day. The sun is shining. All is quiet.", "INT. BARBER SHOP -- SAME TIME The place is empty except for FRED and ED, the two old barbers sitting in the chairs, reading newspapers. ED You been there, have n't you?", "INT. BARBER SHOP BACKROOM -- SAME TIME A room Tommy and Chili use as an office. Chili sits at the desk making entries in the collection book. We can hear the two old barbers talling o.s. FRED O.S. Paris? Yeah, I been there plenty times. It's right offa Seventy - nine. ED -LRB- O.S. -RRB- Hell it is. It's on Sixty - eight. Seventeen miles from Lexington. FRED O.S. What're you talking about, Paris, Kentucky, or Paris, Tennessee? Silence. No answer to the question. Chili look up from the collection book, listens a moment to nothing. He opens the desk drawer and pulls out a.38. He aims the gun at the open doorway. OVER CHILI'S SHOULDER As Ray Bones, a bandage on his nose, appears in the back hall, then the doorway to the office, his face showing surprise to see a gun aimed at him. Ray Bones begins firing the big Colt auto in his hand, maybe before he's ready, the gun making an awful racket, when Chili pulls the trigger, shooting Ray Bones along the top of his head, creasing him from hairline to crown. Chili calmly gets to his feet. Aims once more - probably lower this time - but does n't fire as Ray Bones grabs his head and stumbles out of there. RAY BONES -LRB- O.S. -RRB- Somebody call 9 fucking 111.", "EXT. MIAMI HARBOR -- DAY Ray Bones, a bandage on his head now as well as his nose, sits on a cigarette boat with his boss, JIMMY CAP and two bikini clad BABES, both of whom rub lotion on Jimmy. JIMMY Whatta you want me to do Ray? Go to war over a fuckin coat? You're lucky the guy did n't kill you. The coat was a Christmas present for Christ's sake. RAY BONES You got ta do somethin', Jimmy. This man's got no respect for us. JIMMY He's got no respect for you, and I do n't got ta do shit. Chili Palmer do n't work for me, he works for Momo up in Brooklyn. So as long as Momo's around, nothing happens to Chili Palmer. You understand? As an angry Ray Bones sits back, we. FADE TO BLACK", "EXT. BROOKLYN STREET -- NIGHT We TILT DOWN to REVEAL a dark Brooklyn street as a black Cadillac pulls to a stop in front of an older building. VOICE Momo. We're here. Two big guys, BODYGUARDS, get out of the car. One of them opens the back door for a huge man, MOMO, who gets out of the car and looks up at the dark building. MOMO You check this place out good? If I'm going up alone, I do n't want no surprises. BODYGUARD I checked it out, boss.", "INT. BROOKLYN TENEMENT BUILDING -- NIGHT Momo eyes the bodyguards - both nervous - then starts up the steps. We follow Momo as he enters the building, goes up the dark stairwell. up one flight. we're behind him the whole time. When he gets to the top floor, Momo pauses to catch his breath, before moving on down the hall to a door. Momo knocks. VOICE Yeah? MOMO It's Momo. VOICE Come in. Momo slowly opens the door. when, suddenly, the apartment is FLOODED WITH LIGHT so that we see a room full of PEOPLE, a banner on the back wall reading ` HAPPY SIXTY - FIFTH, MOMO!' EVERYONE Surprise! Silence as Momo drops to his knees, gurgles something we ca n't understand and falls over. Suddenly a dozen faces are looking down on us as we then. CUT TO", "EXT. BARBER SHOP -- DAY A beautiful day in Miami. CHILI -LRB- V.O. -RRB- So what're you tellin' me, you're never gon na go to sleep again?", "INT. BARBER SHOP -- DAY Chili and Tommy each sit in a barber chair, reading the newspaper while Fred and Ed sit nearby playing checkers. TOMMY No, I said I'm never goin' to bed. There's a difference. See, the article says most people die in their beds. I figure long as I stay outta bed, I'm safe. CHILI That's the dumbest thing I ever heard. Where do you sleep? TOMMY In an armchair. Or I go to a coffee shop, sleep there. Sit in a booth, pull my hat down. A car pulls up. Chili's no longer listening to Tommy, but now watching as Ray Bones and a BLACK GUY get out of the car. TOMMY How many people you hear ever die in a coffee shop? Tommy looks over as Ray Bones - smaller bandage on the top of his head - and his man enter the shop. RAY BONES You cut straight hair in this place, or just fags? CHILI Hey, Bones, looks like you're gon na have a nice scar up there. Maybe these guys can fit you with a rug, cover it up for ya. Ray Bones eyes Chili, then nods to Fred and Ed. RAY BONES Why do n't you geezers take your game over to the park. The two guys leave as the Black Guy steps up to Chili. BLACK GUY This man is the man, you understand what I'm saying? He's Mr. Bones, you speak to him from now on. Chili exchanges a look with Tommy, watches as ` Mr. Bones' goes down the hall into the back office, then turns to the black guy. CHILI You can do better'n him. BLACK GUY Not these days. Not less you can talk Spanish. Ray Bones comes out with the collection book open, looking at all of the names of who owes what. RAY BONES You got a miss. Leo Devoe. Guy's six weeks over. CHILI He died. RAY BONES How'd you know he died, he tell you? Ray Bones checks his man to get some appreciation, but the guy's too busy looking at the hair rinses and shit on the connter. CHILI Yeah, he told me. RAY BONES Personally? CHILI Yeah, Ray, he personally told me he got killed in that Get Away Airlines' jet went down last month. RAY BONES What Get Away jet? CHILI It was in the Herald. RAY BONES Yeah, well, maybe the guy took out flight insurance. Check with the wife. CHILI Hey, it's your book now. You want to check it out, go ahead. He's got a dry cleaning business out on Federal Highway. Tommy gives Chili a look as the Black Guy comes over to Chili, stands next to him. Ray Bones steps over to Chili. RAY BONES Momo's dead. Which means anything was his now belongs to Jimmy Capp, including you. Tommy watches as the Black Guy picks up a pair of scissors, runs his hand along the edge. RAY BONES Which also means when I speak, I'm speakin' for Jimmy. So e.g. as of now, you start affording me the proper respect. CHILI ` e.g.' means ` for example', Ray. I think what you wan na say is ` i.e.' RAY BONES Bullshit. E.g. is short for ` ergo'. CHILI Ask your man here. Ray Bones looks at the Black Guy. BLACK GUY Best a my knowledge, e.g. means ` for example.' RAY BONES E.g., i.e., fuck you. The point is, I say jump, you say okay. Okay? TOMMY -LRB- for Chili. -RRB- Yeah, Ray. Okay. Ray Bones then nods to his man who grabs Chili, holds the point of the scissors to Chili's throat. RAY BONES You owe me the dry cleaner's fifteen grand plus the juice which is what another, uhh. CHILI Twenty seven hundred. RAY BONES Exactly. You either get it from the wife or out of your own pocket, I do n't give a fuck. You do n't ever hand me a book with a miss in it. Ray throws the book at Chili and walks out, his man right behind him. Chili looks over at Tommy. TOMMY I told you not to - CHILI Do n't say a fuckin' word.", "EXT. FAY DEVOE'S BACKYARD -- DUSK Where Chili sits with FAY DEVOE - thirties, attractive, in a sundress - on her patio. They each have a drink. FAY I hate the dry cleaning business. I hate being inside all day, around all those machines. CHILI Must be hot. FAY You have no idea how hot it is. She looks at him. Touches her drink to the side of her face. Chili finishes his drink, sets it down. CHILI I was wondering, Fay, if Leo had any life insurance. FAY I do n't know of any. They sit there in silence a moment. Fay reaches over, puts a hand on his leg. FAY I trust you, Chili. I think you're a decent type of man, even if you are a crook. CHILI Thank you Fay. She finally looks at Chili. FAY I wish he really was dead, the son of a bitch.", "EXT. LAS VEGAS -- NIGHT The strip. Mesas Casino. CUT TO CLOSE UP OF PHOTOGRAPH Leo Devoe. Standing with Fay at Epcot Center. DICK -LRB- V.O. -RRB- That's him all right. PULL BACK TO REVEAL INT. DICK ALLEN'S OFFICE - NIGHT A sign on the door reads `` DICK ALLEN, CUSTOMER RELATIONS.'' A bank of video monitors show the floor of the casino. Chili sits across the desk from DICK ALLEN - lots of jewelry, a giant NEON COWGIRL out the window behind him. DICK Called himself Larry DeMille. Hit on every showgirl in town. Would tell'em he was the ` Martinizing King of Miami'. What a moron. He returns the snapshot to Chili. DICK Anyway, you want this guy, he's in L.A.. We put him on a flight after he spanked one a my cocktail girls in the Keno room. CHILI Leo spanked a waitress? DICK Apparently, way it went, he invited her to come to Santa Anita to play the ponies with him. She told him what to do with that and he gave her one on the tush. My guess, he's by his lonesome at the track right now. Chili nods. DICK Hey, Chil? Since you're goin' out to L.A. anyway. CHILI What've you got? DICK Guy owes us a hundred and fifty grand, sixty days over ; a movie producer. CHILI Movie producer? Yeah, why not. As Dick Allen reaches for a pad of paper, we hear THE SOUND OF AN AIRPLANE OVER.", "EXT. LAX RENTAL CAR LOT -- NIGHT It's raining as we TILT DOWN from a LANDING AIRPLANE to a National Car Rental BUS arriving next to a tan MINIVAN. Chili eyes the car a moment, then turns to the driver. CHILI What is this? ATTENDANT An Oldsmobile Silhouette. CHILI I reserved a Cadillac. ATTENDANT Yeah, well, this one's the Cadillac of minivans. CHILI You're kidding me, right? ATTENDANT Hey, you want La Tierra Rent - A - Car just over there, but I think all they got are Rabbit convertibles. Chili gives the driver a look then gets out of the bus, standing there in the rain, his seat getting wet, nowhere to go. He turns and stares at the minivan.", "EXT. KAREN FLORES' HOUSE -- NIGHT All the lights are out, save the BLUE GLOW of a television coming from one of the downstairs rooms. WOMAN'S VOICE -LRB- loud whisper. -RRB- Harry?", "INT. KAREN FLORES' BEDROOM -- NIGHT As KAREN FLORES, pretty, endowed, sits up in bed wearing a Lakers T - shirt, nothing else. She looks at the big shape lying under the covers beside her. KAREN Harry. The shape dees n't move. She shakes it. KAREN Harry, God damn it, somebody's downstairs. The shape stirs, rolls over, and we see HARRY ZIMM, balding, overweight ; a movie producer. He sits up. HARRY What's wrong? KAREN Be quiet and listen. HARRY I do n't hear anything. We hear VOICES downstairs. KAREN Shhh - there. And now LAUGHTER. HARRY Sounds like the television. She looks at him. KAREN When I came upstairs, you stayed to finish your drink. I told you to turn off the TV when you were through. -LRB- an afterthought. -RRB- Come to think of it, I also told you you could sleep in the maid's room. HARRY Yeah, well I turned off the set. I used the remote control thing and laid it on the floor. You know what could've happened? The dog came in and stepped on it, turned the TV back on. KAREN I do n't have a dog. HARRY You do n't? What happened to Muff? KAREN Harry, are you going down, or you want me to? He grunts, gets out of bed. Starts looking around the room for his clothes. Harry looks out the window. HARRY Anyone skim the pool? It needs it. KAREN Harry - HARRY I'm going.", "INT. HALLWAY -- SAME TIME The MONOTONE VOICES become louder and more distinct as Harry moves down the curved staircase in his shirt and boxer shorts. One of the voices is familiar. We can see this is a nice place as Harry crosses the entry hall to a doorway, the FLICKERING LIGHT of the television emitting from inside the room. Harry listens at the door. Yeah, it's David Letterman.", "INT. KAREN'S STUDY -- SAME TIME Harry moves into the glow of the big Sony, the rest of the room dark. On the tube, Dave is interviewing actor Martin Weir when suddenly the screen goes black and the desk lamp comes on. Harry jumps. HARRY Jesus Christ! Chili leans into the light, keeps his tone quiet, controlled. CHILI Harry Zimm, how you doing? I'm Chili Palmer. Harry presses a hand against his chest. HARRY Jesus, if I have a heart attack, I hope you know what to do. CHILI Where you been, Harry? Harry lets his hand slide down over his belly, taking his time, wanting to show that he has it together now. HARRY Have we met? I do n't recall. CHILI We just did. I told you my name's Chili Palmer. Harry stares back, trying to figure out who this guy is. HARRY You're in pictures, right? Chili smiles. Does n't say anything. HARRY Did you stop to think what if I had a heart attack? CHILI You look okay to me, Harry. Come over here and sit down. Tell me what you been up to. Harry takes one of the canvas director's chairs by the desk. He looks at a bottle of Dewars sitting there, runs a hand through his hair, thinks about a drink. CHILI Harry, look at me. Harry brings his hand down. HARRY I'm looking at you. CHILI I want you to keep looking right here, okay? HARRY That's what I'm doing. CHILI You know Dick Allen, Mesa's Casino? HARRY Dick Allen's a very dear friend of mine. How far you want to go with this? CHILI We're there, Harry. You signed markers for a hundred and a half, you're over sixty days past due and you have n't told anybody what the problem is. Harry looks at Chili. HARRY Jesus Christ, what're you, a collector for a fucking casino? You come in here, walk in the house in the middle of the fucking night? I thought you were an actor, auditioning, for Christ's sake. Chili nods, almost smiles. CHILI Is that right? That's interesting. You thought I was acting, huh? Harry pushes out of the chair, looks down at Chili. HARRY We'll see about this. Harry grabs the phone, punches the ` O'. HARRY Operator, how do I get Las Vegas Information? CHILI Harry, lem me give you some advice. Chili leans forward, hangs up the phone with his index finger, casually reaches for the rereiver. CHILI You do n't want to act like a hard - on, you're standing there in your undies. You know what I'm saying? What you want to do is sit down and talk to me. Harry sits down. Chili hangs up the phone. CHILI A marker's like a check, Harry. HARRY I know what a marker is. CHILI They do n't want to deposit yours and have it bounce. That annoys them. So your dear friend Dick Allen's been calling, leaving messages on your machine, but you never get back to him. I happen to be in Vegas on another matter, and Dick asks me as a favor would I look you up. I follow you over here, see you in the window with this woman, looks a lot like that actress Karen Flores, was in Grotesque, except she's not blond anymore. Harry's gaze moves to the bottle of scotch on the desk. CHILI You're not looking at me, Harry. HARRY Why do I have to keep looking at you? CHILI I want you to. HARRY You gon na get rough now, threaten me? I make good by tomorrow or get my legs broken? CHILI Come on, Harry - Mesas? The worst they might do is get a judgment against you, uttering a bad check. I ca n't imagine you want that to happen, man in your position. HARRY Fuckin' basketball game. Harry reaches for the bottle of scotch and pours himself drink. HARRY Tell Dick Allen I'll cover the markers in the next sixty days at the most. He does n't like it, that's his problem. The prick. Harry starts to take another drink, looks at Chili, not moving. HARRY So, you want me to call you a cab? Chili shakes his head, keeps staring at Harry, but with a different expression now, more thoughtful, curious. CHILI You make movies, huh? HARRY I produce feature motion pictures, no TV. You mentioned Grotesque, that happened to be Grotesque Part II that Karen Flores was in. She starred in all three of my Slime Creatures releases you might have seen. Chili nods, leans forward on the desk. CHILI I think I got an idea for a movie.", "INT. KAREN FLORES' BEDROOM -- NIGHT Karen is sitting up in bed, listening. We hear the muffled sonuds of Chili and Harry talking downstairs. She gets out of bed.", "INT. HALLWAY -- SAME TIME Chili and Harry's conversation gets louder as Karen descends the stairs. She peers into the study, but they're not in there.", "INT. KITCHEN -- SAME TIME Chili sits with Harry at a butcher block table, a bottle of Dewars and a couple of glasses now between them. CHILI Yeah, Leo wore these little plaid hats - Miami, middle of the summer, this guy thinks no one's gon na notice he's balding, he wears a fuckin' hat. Harry looks up past Chili, smiles. HARRY Karen? Chili turns aronud and sees her standing in the doorway now, her arms folded across that chest, the Lakers T - shirt coming down just past her crotch. HARRY Karen, say hello to Chili Palmer. Chili, this is Karen Flores. CHILI Karen, it's a pleasure. How you doing? KAREN How did you get in the house? HARRY He's telling me an idea for a movie. It's not bad so far. -LRB- motions with his glass. -RRB- Sit down, have a drink. -LRB- to Chili. -RRB- Tell Karen, let's see what she thinks. KAREN Maybe you did n't hear me. CHILI The door from the patio, in back. KAREN You broke in? CHILI No, it was open. It was n't locked. KAREN What if it was? Chili does n't say anything, just watches her, likes the way she's handling it. HARRY You want to hear this idea? It's about a dry cleaner who scams an airline out of three hundred grand. Go on, tell her. CHILI You just did. HARRY I mean, the way you told it to me. Start at the beginning, we see how the story line develops. Chili looks at Karen. She leans in the doorway. CHILI Well, basically, this guy owes a shylock fifteen thousand, plus he's a few weeks behind on the vig, the interest you have to pay. KAREN I know what a vig is. HARRY It's the kind of situation, you do n't pay, you get your legs broken. CHILI Or the guy thinks he could get'em broken. You have to understand the loan shark's in business the same as anybody else. He is n't in it to hurt people. He's in it to make money.", "EXT. LEO DEVOE'S HOUSE -- DAY As we see Chili talking to Fay on the front porch. CHILI -LRB- V.O. -RRB- But the dry cleaner, we'll call him Leo, he's scared, does n't know any better, so he takes off -", "INT. KAREN'S KITCHEN -- NIGHT As Harry jumps in. HARRY That's Miami. He's going to Vegas. He's got a few bucks and he's thinking it's his only chance.", "INT. AIRPLANE -- DAY We see a fidgety LEO DEVOE, a little guy in a crummy suit and a little green hat sitting there in coach, looking around. CHILI -LRB- V.O. -RRB- Leo gets on a plane, ready to go, but the plane sits there at the gate, does n't move. Behind Leo sits a BRAT with his MOM and DAD. The parents are trying to entertain the kid with the G.I. Joes, other stuff they've brought along, but the kid spots Leo's hat as Leo looks up to listen to an announcement. CHILI -LRB- V.O. -RRB- They annonnce over the PA there's some kind of mechanical problem, they'll be there maybe an hour, but keep your seats in case they get it fixed sooner. Leo gets really uncomfortable now. CHILI -LRB- V.O. -RRB- The guy's nervous, in no shape to just sit there, sweat it out. So he gets off the plane. As Leo gets up from his seat, the kid knocks off Leo's little green hat, and we. CUT TO", "INT. MIAMI AIRPORT COCKTAIL LOUNGE -- DAY As Leo downs a drink, looks around for the waitress. CHILI -LRB- V.O. -RRB- Goes in the cocktail lounge and starts throwing'em down, one after the other. He's motioning to her for another, when we see a PLANE taxi past the window in the b.g. CHILI -LRB- V.O. -RRB- When the plane pulls away from the gate.", "INT. KAREN'S KITCHEN -- NIGHT As Harry interrupts. HARRY Without him. The guy's so out of it he does n't even know it's gone. CHILI That's right. As a matter of fact.", "INT. COCKTAIL LOUNGE -- DAY A shit - faced Leo struggles to keep his head up as he watches the waitress look out the window and gasp. CHILI -LRB- V.O. -RRB- He's still in the lounge when a plane blows up on the runway. We see a BIG FIREBALL in the b.g. as Leo's head hits the table.", "INT. KAREN'S KITCHEN -- NIGHT As Chili lights a cigarette. CHILI So when the guy finds out it was his flight, he ca n't believe it. If he'd stayed on that plane, he'd be dead. Right then he knows his luck has changed. If everybody thinks he's dead he wo n't have to pay back the fifteen or what he owes on the vig, four and a half a week. Chili offers the pack to Karen. Karen does n't move. KAREN The interest is four hundred and fifty dollars a week on fifteen thousand? CHILI That's right. Three percent. KAREN But a week. That's a hundred and fifty percent a year. CHILI A hundred and fifty - six. Some'll charge you more'n that, go as high as six for five on a short - term loan. So three a week's not too bad. KAREN A real bargain. She shakes her head, keeps her arms folded. Chili watches her, likes the way she's giving it to him. HARRY Keep going. CHILI Well, since Leo's name was on the passenger list.", "INT. AIRPORT HANGER -- DAY As an FFA OFFICIAL leads Fay, a black veil over her face, amongst tables full of charred items. CHILI -LRB- V.O. -RRB- They bring his wife out to the airport where they're going through personal effects, whatever was n't burned up. Leo's bags were on the plane, so the wife tells'em what to look for, things only she would know about. FAY REACTS as the FFA guy points to a LITTLE GREEN HAT on one of the tables. She grabs it, clutches it to her chest, pretends to faint.", "INT. KAREN'S KITCHEN -- NIGHT As Karen finds herself listening, despite herself. CHILI A couple days ago by, people from the airliner come to see his wife, tell her how sorry they are and all that their plane exploded and offer her a settlement, the amount based on what he would've earned operating the dry cleaner's the rest of his life. Leo had some kind of trouble with his kidneys, so they were giving him about ten years. KAREN How much is the wife offered? Chili starts to speak, but Harry cuts him off. HARRY Three hundred grand, and they take it, money in hand, babe. The guy has his wife cash the check and he takes off for Las Vegas with the dough. Gets there, he's supposed to call her, tell her when to come out. But she never hears from him again. Meanwhile, the guy's hot, runs the three hundred up to half a million. CHILI He comes to L.A. Harry raises his hand to stop Chili. He's rolling, turns to Karen now. HARRY It drives the guy nuts, he's winning but ca n't tell anybody who he is. You show in a back story his motivation, his desire to be famous, you know, pal around with celebrities, the headliners doing the big rooms. Now he's got the dough to buy his way in, mix with celebs and he ca n't resist. Harry then turns back to Chili. HARRY So he comes to L.A. CHILI I do n't know about his wanting to meet celebrities, that's something new. But, yeah, he comes to L.A.. Then after that, I do n't know what happens. Chili looks at Karen. Patient. Not moving. HARRY That's it? That's your movie? CHILI I said I had an idea, that's all. HARRY That's half a movie, with holes in it. Maybe forty minutes of screen time. You do n't even have a girl, a female lead, and on top of that, there's no one to sympathize with, you do n't have a good guy. CHILI The shylock's the good guy. HARRY The shylock? He's barely mentioned. And it's not believable the wife would get a settlement that fast. KAREN Harry does n't realize it's a true story. They both look at her now. KAREN That Miami flight that went down, it was on the news every day for about a week. Harry must've been busy. HARRY That's where you got the idea? CHILI Part of it, yeah. HARRY Wait a minute, you're not the guy, are you? The dry cleaner? CHILI You mean, Leo? HARRY You would n't be talking to me if you were. CHILI I'm not the guy, Harry. HARRY But you work for the casino? CHILI I'm out here looking for Leo. I just looked you up as a favor to your dear friend, Dick Allen. HARRY So you do n't work for the casino? KAREN Harry, for God's sake. They both look at her. KAREN He's the shylock. She's staring at Chili again. Harry turns to him. HARRY Is that right, that's what you do for a living? CHILI What I did till recently. -LRB- looking at Karen. -RRB- After I get done here I'll think about what I'm gon na do next. KAREN With your experience, you could always become an agent. Right, Harry? HARRY Yeah, that's what we need. More agents. KAREN Well. I got an audition tomorrow. HARRY No problem. You go on off to bed. Karen looks at the two of them sitting there. Not about to move. KAREN What I'm saying, Harry, is I want you and your new buddy to get out of my house. HARRY Oh, yeah, sure. CHILI Nice meeting you, Karen. She just looks at him, turns and walks out. Chili watches her go. Harry watches Chili, pours the last of the scotch into Chili's glass. HARRY I imagine in your line of work, there were times you had to get rough, you know, say one of your customers stopped paying. CHILI They always paid. Harry nods, thinks a moment, then. HARRY You pack a gun? CHILI Not really. HARRY What does that mean? CHILI Maybe a few times I have. HARRY Ever shot anybody. CHILI Once. HARRY Really? You ever been arrested? CHILI I've been picked up a couple times. Loan sharking. Racketeering. But I was never convicted. I'm clean. HARRY Racketeering, that covers a lot of ground, does n't it? Chili looks at him. CHILI Why do n't you get to the point, Harry? You want me to do something for you.", "EXT. FAY DEVOE'S HOUSE -- MORNING As a Cadillac Eldorado pulls up out front and Ray Bones and his man get out, check out the neighborhood. RAY BONES Hi, I'm Ray, a friend of Chili Palmer's.", "INT. FAY DEVOE'S HOUSE -- MORNING Fay watches as Ray Bones and his man go through her things. RAY BONES Have your spoken to Mr. Palmer since your husband. you know, blew up? FAY Maybe once or twice. RAY BONES -LRB- coming over. -RRB- What was it you talked about? FAY Oh, nothing really? This and that. Ray Bones hits Fay Devoe in the face. She drops to her knees and cries out. Ray Bones crouches down in front of her, puts a hand in her hair. RAY BONES Fay. -LRB- pulls her head up. -RRB- Fay. She looks at him. Afraid now, her nose is bleeding. Ray Bones smiles at her, strokes her hair. RAY BONES Fay, I want us to be friends. And friends do n't hit each other, ` less they have to. -LRB- she nods. -RRB- So whatta you say we start all over and you tell me exactly what the fuck is goin' on?", "EXT. SUNSET BOULEVARD -- MORNING As we BOOM DOWN from a massive billboard for the movie Bonaparte starring Martin Weir as Napoleon and begin tracking with Harry's eight - year - old, battered Mercedes.", "INT. HARRY'S CAR -- SAME TIME Harry drives, all the while gesturing with a lit cigarette. HARRY These guys, my investors, they run a limo service, came to me originally, put money in a few of my pictures and did okay, they're happy. So they come in on another deal - this was back a few months ago when I was planning what would be my next picture, about this band of killer circus freaks that travel around the country leaving bodies in their wake. The characters, there's this seven - hundred - pound fat lady who has a way of seducing guys, gets them in her trailer - CHILI Harry, look at me. Harry looks at him. Chili takes away his cigarette. CHILI You're trying to tell me how you fucked up without sounding stupid, and that's hard to do. Let's just get to where you're at, okay? You blew the two hundred grand the limo guys gave you in Vegas on a basketball game and you have n't told'em about it. Why not? HARRY Because they're not the type of guys would take it with any degree of understanding or restraint. The first thing they'd do is break my legs. CHILI You got that on the brain, Harry. If you're so scared of'em why'd you take their money to Vegas to begin with? HARRY Because I need half a million to buy a script. CHILI For a movie? HARRY A blockbuster. But quality. No mutants or maniacs. This one's gon na be my Driving Miss Daisy. CHILI What's it called? HARRY Mr. Lovejoy. CHILI Mr. Lovejoy? That's the title? HARRY It's not bad when you know what it's about. Harry pulls to the curb, faces Chili. HARRY Murray Saffrin, guy who wrote it, did all my Grotesque pictures, had it in a drawer for twenty years. He shows it to me one day, tells me he's got a star interested, would I produce it. CHILI Who's the star? Harry points arross the street to the Cafe Med where we see a RED FERRARI convertible parked out the front. We see MARTIN WEIR and a WOMAN with jet - black hair sitting at a table. HARRY Two time academy award nominee, Martin Weir. CHILI Martin Weir. He played the mob guy that turned snitch in The Cyclone. HARRY One of his best parts. CHILI No, his best part was the cripple gay guy that climbed Mt. Whitney. HARRY Ride the Clouds. Good picture. They watch Martin and the girl a moment. CHILI She looks familiar. HARRY She's a rock star. Every day, same time, they come down here and have breakfast. He has the egg white omelette ; she has the banana pancakes. He sits facing west so he can see his billboard. She faces east so she has an excuse to wear the shades. Harry pulls out, starts driving again. HARRY Anyway, Murray has this shrink, who also happens to be Martin's personal trainer's shrink. Murray gives the shrink the script and the shrink gives it to Martin's trainer who reads it to Martin while they work out, and Martin flips. Loves it. CHILI So what's the problem? HARRY The problem is Murray. He and a few other blocked screenwriters went river rafting down the Kern a few weeks ago. Murray never made it back. CHILI He drown? HARRY Heart attack. Apparently they brought a couple hookers along. Chili nods, looks up at an ANGELYNE billboard. HARRY Doris, Murray's widow, finds out about this Martin Weir thing and says since Murray and I never had any written contract, she wants five hundred grand for the script. CHILI So you're thinking what if I was to put you next to my dry cleaner. Ask him if he wants to invest his money in a movie. HARRY That, or I'm thinking what if some tragic accident were to befall the widow Saffrin - CHILI I'm not gon na pop her, Harry. HARRY Just a thought. CHILI But I could talk to the limo guys. Tell'em to leave you alone for a while. Make the point in a way they'd understand it. HARRY You do n't even know these guys. CHILI Harry, I probably know'em better than you do. HARRY What do you get out of this? CHILI Let's see how we get along.", "EXT. PARKING LOT -- DAY BO CATLETT, black, tall, put together in a tan outfit suit, shirt, tie, lies on the hood of a BLACK STRETCH LIMO, his back against the windshield, reading Daily Variety, a headline proclaiming ` BONAPARTE STANDS TALL AT THE B. O.' We hear the sonud of an AIRPLANE and he checks his watch. He casually folds the newspaper as a 747 screams past directly overhead and we. PULL BACK TO REVEAL LAX - DAY As Bo Catlett pounds twice on the fender. BO CATLETT That's us.", "INT. SOVEREIGN TERMINAL -- DAY Bo Catlett walks through the terminal. We hear the arrival of the Miami flight annonnced over the PA as Catlett stops at one of the gates. We see a plane pulling into the gate through the glass as Bo Catlett checks out the other people waiting to greet the flight. Like, for example, the YOUNG DUDE in jeans and a wool shirt hanging out. Bo Catlett studies him a moment, then sits down in one of the chairs. He looks over at. A BIG MAN, bearded, wearing a loud Hawaiian shirt, and carrying a three - year - old GIRL in his arms. The girl licks an ice - cream, spilling some on Daddy's shirt. Bo Catlett looks over as disembarking PASSENGERS start coming through the gate. As a LATINO MAN gets off the plane and glances around. He looks uncomfortable in the loose - fitting suit, like a migrant dressed for Saturday night. The Latino Man lays his TICKET ENVELOPE on top of the trash container near the gateway. INSERT - TICKET ENVELOPE The name Y. PORTILLO printed on the outside. The big man with the little girl picks up the ticket and walks away. As the LATINO MAN heads straight for Bo Catlett. BO CATLETT Do n't say nothing to me. Sit down and act like you're waiting for somebody supposed to meet you. LATINO MAN The fock you taking about. Hitting the word hard, like Tony Montana in Scarface. LATINO MAN They nobody know me here, man. Give me the focking money. BO CATLETT Sit down. Now be looking. Man over to your right in the blue wool shirt hanging out. the other way, derecho. Bo Catlett hunches over to rest his arms on his thighs, so that the Latino Man is now between him and the dude in the wool shirt. BO CATLETT That's a federal officer, most likely DEA. He moves his leg look for the bulge. You savvy bulge? That's his backup piece. Hey. Try it without looking right at him if you can. The Latino Man, trying to be cool about it, checks out the dude in the wool shirt. Sure enough, there's a bulge down near the guy's ankle. BO CATLETT What's your name? LATINO MAN -LRB- nervous now. -RRB- Yayo. Portillo. BO CATLETT Alright, Yayo, you know he's there, now forget about him. Now I'm gon na get up. Soon as I'm gone, you sit down in this same seat I'm in. You feel something under your ass it's the key to a locker where your half a million is. Along with some product we're returning Nervous now, Yayo is staring at the guy with the wool shirt. YAYO You suppose to give me the focking money yourself. Bo Catlett gets up, adjusts his suit jacket, smoothing the long roll lapel. BO CATLETT Try to be cool Yahoo. I told you where it is. Do it how I told you and have a safe trip home. Or as you all say, vaya con Dios, motherfucker. Bo Catlett walks off, leaving Yayo sitting there, confused now, not quite sure what to do. CLOSE ON HAND HOLDING TICKET ENVELOPE The name Y. PORTILLO written on the jacket. PULL BACK TO REVEAL BAGGAGE CLAIM - DAY Where the Big Man in the Hawaiian shirt waits by the carousel. His LITTLE GIRL HOLDS THE TICKET ENVELOPE. The man grabs a case from the carousel and walks to the door. He tears the baggage claim stub from the envelope and hands it to the SECURITY GUARD.", "EXT. BAGGAGE CLAIM -- DAY As the Big Man and the little girl walk to the black stretch parked at the curb, RONNIE WINGATE, an aging surfer in a suede jacket and running shoes, holds the door open for them. RONNIE Like fucking clockwork, eh Bear? BEAR/BIG MAN Do n't cuss in front of Farrah. The Bear hands the case to Bo Catlett who sits in the back of the limo. GIRL Hi, Bo. BO CATLETT How you doing, sweetie? As Ronnie gets in back with Bo Catlett, The Bear puts his daughter in a toddler seat up front, then gets behind the wheel. GIRL Here we go!", "EXT. HARRY'S OFFICE -- DAY Two stories, part of a block of white store fronts on Sunset near La Cienega.", "INT. HARRY'S OFFICE -- DAY Light filters through venetian blinds, illuminating a desk stacked with folders, magazines, scripts, papers, unopened mail, hotel ashtrays, a brass lamp, a clock and two telephones. HARRY I once asked this literary agent what type of writing brought the most money and the agent says, ` Ransom notes.' Chili stands looking over some of the old photographs as Harry goes through the mess on the desk. There are some of Karen, Harry with a much youger, blonde Karen. Harry with giant bugs, Harry shaking hands with mutants and maniacs, and so on. HARRY Here it is. Mr. Lovejoy. Harry hands a script to Chili. Chili examines the cover, the first time he's ever held a movie script. He opens it to the middle. CHILI Lovejoy sits behind the wheel, watching the bar across the street, getting his video camera ready for action. -LRB- looks up. -RRB- What's he doing? Following a guy? HARRY Read it. It's a grabber. Chili looks out the window as we see a long black stretch limo pull up to the curb down on the street. CHILI Hey, Harry? I think your investors are here.", "EXT. HARRY'S OFFICE -- SAME TIME As the Bear opens the door for Bo Catlett and Ronnie.", "INT. HARRY'S OFFICE -- SAME TIME As Harry moves away from the window. HARRY Jesus. Chili tosses the script on the desk, moves between a pair of fat red leather chairs. CHILI All right, Harry, make sure the limo guys sit here, not over on the sofa. Harry is tugging the string to lower the blinds behind the desk. CHILI No leave'em up, we want the light in their eyes. I'll be at the desk. but do n't introduce me, let it go, just start talking. You're gon na be here, behind'em when they sit down. HARRY They'll be looking at you. They do n't know who you are. CHILI That's right, they're wondering, who's this guy? You do n't tell'em. Understand, Harry? Do not tell'em who I am. Harry glances off as we hear RONNIE SINGING down the hall. RONNIE -LRB- O.S. -RRB- In the year 2525. if man is still alive. HARRY So what do I say to them? CHILI You do n't say any more'n you have to. You say, ` Well, I'm glad you assholes stopped by, so I can set you straight.' HARRY You're kidding, right? RONNIE -LRB- O.S. -RRB- If woman can survive. CHILI You tell'em the movie's been postponed. Say, till next year, if you want. But do n't tell'em why or what you're doing. Understand, Harry? You do n't tell'em anything about Mr. Lovejoy. And the door opens. Chili sits behind the desk, watching the two of them come into the office. Ronnie singing. RONNIE They may find. He looks about the office. at the old photographs. RONNIE Harry, what year is it, man? We enter a time warp? I feel like I'm back in Hollywood of yesteryear. Harry waves them right into the two cracked red leather chairs facing the desk. Chili watches as Catlett comes first. Sitting down, he nods to Chili who ignores him. HARRY Have a seat. right over here. Ronnie sits down in the chair and hooks one leg over the arm, swings it up and down, his motor running on some chemical. He too stares at Chili. HARRY This is my associate, Chili Palmer, who'll be working with me. Harry already forgetting his instructions. Chili ca n't believe it. The limo guys nod to Chili and Chili nods back, trying to catch Harry's eye. HARRY I want to make sure there's no misunderstanding here. Despite rumors you might have heard, your investment in Freaks is as sound as the day you signed your participation agreement. Ronnie has his face raised to the ceiling. RONNIE I can hear you, but where the fuck are you, man? BO CATLETT -LRB- looking at Chili. -RRB- What I been wondering is where's he been. RONNIE Yeah, where've you been? We have n't heard from you lately. Harry comes around to stand at one side of the desk, his back to the window. HARRY I've been off scouting locations. Interviewing actors in New York. Chili's gaze moves from Ronnie the fool to Bo Catlett the dude, the man composed, elbows on the chair arms, his hands steepled in front of him. HARRY The main thing I want to tell you, the start date for Freaks is being pushed back a little, a few months. Ronnie stops bouncing his leg. RONNIE A few months? HARRY Maybe longer. We need prep time. RONNIE Hey, Harry? Bullshit. We have an agreement with you, man. HARRY We're gon na make the picture. I've just got another project to do first, that's all. One I promised this guy years ago. Chili shakes his head, he ca n't believe he's hearing this. Ronnie sits up straight. RONNIE I want to see your books, Harry. Show me where it is, a two with five zeroes after it in black and white, man. I want to see your books and your bank statements. CHILI Hey, Ronnie? Look at me. Boom. Ronnie looks over. So does Bo Catlett for that matter. CHILI You have a piece of a movie, that's all. You do n't have a piece of Harry. He told you we're doing another movie first. And that's the way it's gon na be. RONNIE Excuse me. But who the fuck are you? CHILI I'm the one telling you how it is. That's not too hard to figure out, is it? Ronnie turns to Bo Catlett, the man not having moved or changed his expression the last few minutes. RONNIE Cat? Bo Catlett takes his time, gives it some thought. He looks at Harry. BO CATLETT What's this movie you're doing first? CHILI Harry, let me answer that. Catlett looks at Chili again. CHILI But first I want to know who I'm talking to. Am I talking to you, or am I talking to him? BO CATLETT -LRB- beat, smiles. -RRB- You can talk to me. CHILI That's what I thought. So let me put it this way Now it's between them. The guy studies Chili, thinks about whether or not to make a move, when Harry steps in, reaches over the desk and picks up a script. HARRY This is the project, Mr. Lovejoy. I'm not trying to pull anything on you guys. This is it, right here. Chili looks at Harry, wonders if there's a way to shut him up without punching him in the mouth. RONNIE Mr. Loveboy? What is it, Harry, a porno flick? He reaches for the script. Harry backs away, holds the script to his chest. Bo Catlett notices this. HARRY It's nothing. It's fluff. Nothing you'd be interested in. Bo Catlett eyes him a beat, then pushes out of his chair. BO CATLETT Harry, you think we go to see your movies? I've seen better film on teeth. Makes no difference to me which one our money's in. So how ` bout you take our twenty points out of Freaks and put'em in this other one, Mr. Loverboy. HARRY I ca n't do it. BO CATLETT You positive about that? HARRY It's a different kind of deal. Bo Catlett nods, gets up. BO CATLETT Okay. Then be good enough to hand us our money back, or you think about us coming in on this new one. RONNIE By Friday, man, or you're fuckin' dead as disco. Ronnie opens his coat so that Harry can see a gun tucked in his belt. RONNIE You hear me? Bo Catlett gives Ronnie a look. BO CATLETT Take your time, Harry. -LRB- closes Ronnie's jacket. -RRB- We're not animals. Are we, Ronnie? Bo Catlett glances once more at Chili then follows Ronnie out the door. Harry stares at the door a moment, senses Chili staring at him. HARRY What? CHILI I do n't know, maybe I was n't clear. But I thought. I told you to keep your mouth shut. HARRY I had to tell'em something. CHILI Never say anything unless you have to. Chili shakes his head as Harry sits down in one of the chairs, fumbles for his cigarettes. CHILI You tell me you want these guys off your back. Next thing I know, you're saying yeah, maybe they can have a piece of Mr. Lovejoy. I could n't believe my fuckin' ears. HARRY I said I'd think about it. What does that mean? In this town, nothing. CHILI That's the difference between you and me, Harry. I say what I mean. I want something from someone, I ask'em straight out. I want Martin Weir, I go get Martin Weir. I do n't fuck around with his trainer's shrink. HARRY His shrink's trainer. Chili looks at Harry. CHILI Take me back to my car.", "EXT. LAX -- DAY As a plane touches down on the runway.", "INT. SOVEREIGN TERMINAL -- SAME TIME Yayo, now soaked with sweat, is still here. He stands watching a row of lockers. He stares at one of them. CLOSE ON LOCKER. The number C - 18. We PUSH IN. YAYO starts to move for it. then looks off at. A MAN IN A SUIT as we quickly TILT DOWN to the guy's ankle, looks like a bulge there. We then. WHIP PAN TO A WOMAN, dressed casually in slacks and a blouse. We TILT DOWN to her ankle, hmmm, is that a bulge? We. WHIP PAN TO A TENNIS SHOE, tapping to some unheard rhythm and what looks like a bulge near the ankle. We TILT UP this time to reveal A LITTLE KID, listening to a walkman. YAYO obviously losing it now, rubs his eyes and quickly walks off to a row of payphones.", "EXT. KAREN FLORES' HOUSE -- DAY Chili's minivan is parked outfront. TOMMY -LRB- V.O. -RRB- Where you been? I been callin' all over for you.", "INT KAREN'S HOUSE -- THE STUDY -- SAME TIME Chili sits at the desk on the phone. TOMMY. -LRB- PHONE. -RRB- Ray Bones is looking for you. He's got some kinda bug up his ass, ca n't sit still.", "INT. BARBER SHOP -- DAY Tommy on the phone. TOMMY I hate to say I told you, but I did. I told you do n't start nothing with him that time. INTERCUTTING TOMMY & CHILI CHILI You said do n't say nothing and I did n't. TOMMY No, you just broke his fuckin' nose instead. CHILI You gon na start that again? You're just like him, all you got room for in your brain is one fuckin' thing. TOMMY All I know is he came by the barber shop, all fuckin' undone, wanting to know where you were staying in Vegas. I told him I do n't know. I still do n't. CHILI How'd he know I was in Vegas? You tell him? TOMMY He already knew it. CHILI Yeah, well, I'm in L.A. now. TOMMY Whatta you doing out there? CHILI I'm going into the movie business. TOMMY What're you talking about? You wan na be a movie star? CHILI I'm thinking about producing. TOMMY How you gon na do that? You do n't know shit about making movies. CHILI I do n't think the producer has to do much, outside of maybe knowing a writer. TOMMY Hey, Chil? I think you're fulla shit.", "INT. KAREN'S ENTRY WAY -- SAME TIME As Karen, dressed as a B - movie queen, press kit under one arm, steps inside, freezes as she hears. CHILI -LRB- O.S. -RRB-. call me soon as you know when Ray's coming out.", "INT. STUDY -- SAME TIME Chili is scribbling something on a piece of paper as Karen comes into the room. Chili looks up at her as he hangs up, smiles at her. CHILI Hey. Karen. How ya' doin'? KAREN What're you doing here? CHILI I wanted to come by, apologize for coming into your house like I did last night. KAREN Lem me get this straight, you broke in again to apologize for breaking in before? CHILI No, no. you let the patio door open. You got ta stop doin' that, all the nice things you got around here. KAREN Yeah, well make sure you lock it on the way out. CHILI Rough day on the set? KAREN I spent all day crawling out of a grave. The costumer kept bitching'cause I was ripping my nylons - CHILI Ripped nylons work. Makes the shot more real. KAREN -LRB- regarding him. -RRB-. That's what we finally decided. CHILI Like in Bride of the Mutant, when you played the whole end with that torn top. She looks at him. KAREN You saw that one? CHILI Yeah. When you turn to the camera to tell the alien mother that her time on earth is finished. when you give us all that look, Joan Crawford wishes on her best day she had that much presence. Not even in Mildred Pierce - which by the way was a better book than a movie - did Crawford even touch the intensity you had in that look. KAREN -LRB- beat. -RRB- Yeah. that was a good scene. I mean, for a horror movie. CHILI For any movie. KAREN I know I'm better than what I've been doing the last ten years, walking around in a tank top and fuck - me pumps, waiting till it's time to scream. CHILI Man, can you scream. KAREN Yeah. It's a real gift. -LRB- beat. -RRB- I'm just saying it'd be nice, one time in my career to get the chance to say one great line. You know, like in that Bette Davis picture, Cabin in the. CHILI Cotton. KAREN Yeah, you know when Bette comes up to the guy on the porch, gives him a flirty look and says, ` I'd kiss you, but.' CHILI/KAREN' I just washed my hair.' KAREN Yeah. CHILI That is a great line. Chili looks at her. CHILI How come you stopped making movies with Harry? KAREN I married Martin. That was a full - time job. CHILI You read Harry's new one? He says it's the best thing he's ever read. KAREN He must mean after Slime Creature 3. CHILI That why Harry came over last night? See if you could help him get Martin in his movie? KAREN Harry's dreaming of a forty - million - dollar production he'll never get off the ground with a star he'll never sign. With or without my help. CHILI Harry told me Martin loves it, he flipped. KAREN Yeah, well Martin is known for his flipping. He flips over a script, and when the time comes to make a deal, he flips out. CHILI Tell you what, I'll stop by Harry's office and pick up a copy for you. KAREN Do n't go out of your way. They consider each other a moment. until Chili finally checks his watch. CHILI Well, I got ta have a talk with Leo, my runaway dry cleaner. KAREN Right. See how your story ends. CHILI Yeah. Right. -LRB- then. -RRB- Listen, Touch of Evil's phying near my hotel. You wan na go check it out? Watch Charlton Heston play a Mexican? Karen looks caught, does n't answer right away. CHILI Maybe some other time. He turns to go, then turns back to her. CHILI ` He tried to make love to me and I shot him.'. -LRB- then. -RRB- Another great Bette Davis line. Karen looks at him. Surprised. He smiles at her. CHILI See you around.", "EXT. BEVERLY HILLS HOTEL -- NIGHT Leo Devoe, dressed in a sporty plaid ensemble, complete with little matching hat gets out of a cab, and walks to the front entrance. He tips the doorman, gives him a grin. DOORMAN Evening, sir. LEO And a good evening to you, too, sir.", "INT. HOTEL HALLWAY -- NIGHT As Leo the high - rolling dry cleaner bounces down the hall, unlocks his door.", "INT. LEO'S HOTEL ROOM -- NIGHT Dark. Leo enters, heads for the bottle of Chivas on the desk. Has one straight out of the bottle, ahhh, before pulling a fat wad of cash out of his jacket, tossing it on the desk like it's change from the cab fare. He then takes off the jacket, unbuttons the shirt, reaches for the Chivas again, when we hear. CHILI O.S. Look at me, Leo. Crash. Something glass hits the floor. Probably the Chivas bottle as Leo nearly has a fucking coronary. Leo looks over as Chili turns on the light behind him. But what catches Leo's eye is the BRIEFCASE sitting on the couch beside Chili. CHILI I would n't think you're that dumb, leave over three hundred grand in the closet, underneath the extra blanket, but I guess you are. LEO I did n't know where else to keep it. -LRB- then. -RRB- Where would you? CHILI You're here a while, what's wrong with a bank? LEO They report it to the IRS. CHILI You do n't open an account, Leo, you put it in a safe deposit box. Dip in whenever you want. Leo nods in his sporty hat and undershirt, thinking it over, what to do the next time he scams an airline. CHILI You've been losing. LEO I'm up twelve grand today. CHILI From when? You left Vegas with four - fifty? LEO Who told you that? CHILI Now you're down to three - ten in the case. You must've cooled off quite a bit since you got here. LEO How'd you know I was here? CHILI Here's another tip Leo looks away, raises his preshaped plaid hat and recocks it, then. LEO It was Fay, was n't it, told you about the money. She tell you my whole life history, for Christ's sake? CHILI I would n't let her if she tried. Why I'm here, Leo, basically, is to save your ass. LEO How? By taking my money? CHILI You can keep what you won today. That's yours. LEO It's all mine. CHILI Sit down, Leo. Leo sits down in the arm chair, stares sadly at the briefcase. CHILI I do n't know how you got this far, you're so fuckin' dumb. But now you're through. I'm gon na explain to you why and I hope you're not too dumb to understand what I'm saying. Okay? Leo nods. CHILI Ray Bones is now the man you're dealing with. Ray Bones finds out what you did, he's gon na want everything you have. And when I say everything, I mean even that sporty little hat if he wants it. Then after he takes all you got, he'll most likely hit you with some kind of heavy object if he does n't shoot you, just so you wo n't tell on him. Chili lets that sink in a minute. CHILI I wo n't do that. Take your stuff or hurt you. You have three - ten in the case, right? I'm gon na take the three hundred you scammed off the airline, but the rest of it, the ten grand? I'm gon na borrow that and pay you back sometime. Leo's squinting at him now. LEO You take all my money, but you're borrowing part of it? CHILI At eighteen percent, okay? And do n't ask me no more fuckin' questions. I'm leaving. He picks up the briefrase as he rises from the sofa and Leo gets out of his chair. LEO But you wo n't know where I am. I do n't even know where I'll be. CHILI I'll find you, Leo. Chili reaches for the door, opens it and looks back at Leo. CHILI You leave a trail like a fuckin' caterpillar.", "INT. HALLWAY -- SAME TIME As Chili starts for the elevator. Leo steps into his doorway. LEO Wait a minute. What's this eighteen - percent - a - year shit? You want to borrow ten, the vig's three bills a week. Fifteen for the vig plus the ten, that's twenty - five big ones you go a whole year, buddy! You hear me? Chili stops, turns around. As he starts back, he sees Leo's scared look just before he slams the door shut. Chili shakes his head, starts back for the elevator.", "EXT. GRIFFITH PARK -- NIGHT Chili drives a dark road up into the park. He rounds a corner, and we see an explosion of light up ahead as we come upon. A MOVIE SET Chili pulls in behind a row of trailers. He gets out of the car and heads for the set where Harry is now looking up at the sky and yelling at someone. HARRY How's anyone gon na see anything from way up there? CHILI Hey, Harry. HARRY Yeah, Chili. Hi. -LRB- looking up. -RRB- You're fifty feet in the air! The DIRECTOR - early twenties, dressed like a frat boy - sits on a crane about fifty feet above the set. DIRECTOR Harry. I'm gon na boom down real fast, get a subjective p - o - v. CHILI Listen, I talked to Karen. She's gon na think about helping you out. HARRY Yeah, but whose point of view? DIRECTOR Whatta you mean, whose point of view ; The audience's point of view. HARRY Get down here. I wan na talk to you. Come on. right now. -LRB- to Chili. -RRB- She's gon na talk to Martin? CHILI She's thinking about it. I just need the key to your office. I just told her I'd pick up a script. Harry tosses Chili a key - ring. HARRY It's the red one. Take it off the ring. Chili sits down in one of the director's chairs that sits off to one side. He starts to take the key off the ring. VOICE Your name Vicky Vespa? Chili looks up at a bored - looking ACTRESS standing there in a blood - soaked nightie. CHILI Excuse me? ACTRESS I asked you, is your name Vicky Vespa? CHILI No. ACTRESS Then get the fuck outta my chair. Chili sits forward, sees her name printed on the back. He gets up. As she sits down, we see an ICE PICK sticking out the other side of her head. Chili sits back down next to her in the chair with HARRY ZIMM on the back. HARRY -LRB- to the director. -RRB- What're you doing? I thought I told you to get down here? The kid nods to the camera operator who lowers the crane as we BOOM WAY UP. HARRY All these camera moves and weird angles and shit are gon na distance us from the emotion of the scene. DIRECTOR What'em otion?' Girl just got stabbed in the ear with an ice pick. HARRY She's scared! Fear is an emotion! -LRB- then. -RRB- Look, kid, if you remember anything from your time working with Harry Zimm, let it be the three key words to filmmaking. The kid fiddles with the crane controls. DIRECTOR Yeah? What three words, Harry? HARRY Pick'n' Save. DIRECTOR Hm? HARRY You heard me, Pick'n' Save. Harry turns so the rest of the crew can hear him. HARRY Now I'm gon na tell you a little story, happened to me years ago when I was so broke I had to go to the Pick'n' Save over on Vine to buy a lousy candybar for my dinner. Chili watches the crew stop what they're doing and listen. HARRY I'm standing in line waiting to pay my two bits when I overhear this lady, call her Mildred, talking to the cashier about a movie. The Director gives a look to his assistant like ` Jesus, you believe this shit?' HARRY So Mildred says to the cashier,' I saw the new Streisand picture.'. -LRB- gets into it the way Mildred did. -RRB- ` God, I just love it at the end when she brushed Robert Redford's hair off his forehead the way she did when they were together, and the way they gave each other this look that said they still loved each other, but knew they could n't be together. That look was so. romantic.' DIRECTOR That's great, Harry. So what's the - HARRY What she did not say was,' I just loved the way the director moved the camera so much it made me fuckin' seasick.' All she cared about was that look. All she remembered was that look. And why do we remember things in movies? Because we can see them. Harry's right in the guy's face now. HARRY So. keep this fuckin' camera down here on the ground and shoot this scene, so we can see what the fuck is goin' on, before I get someone over sixteen to fuckin' shoot it for you! Harry walks over to Chili, sees Chili sitting there. Chili tosses Harry his key ring. CHILI Here's your keys, Harry. HARRY Get the fuck outta my chair.", "EXT. HARRY ZIMM'S OFFICE -- NIGHT As Chili pulls out front, gets out of the minivan, he looks up, sees a light on in Harry's office.", "INT. CORRIDOR -- NIGHT Chili walks down the hallway, dark except for a light on at the end of the hall.", "INT. HARRY'S OFFICE -- NIGHT Bo Catlett, reading glasses, script open in front of him, looks up from Harry's desk as Chili steps into the office. BO CATLETT This ai n't bad, you know it? This Mr. Lovejoy. Needs a better ending but yeah, I can see why Harry wants to do it. Chili says nothing, sits down in one of the red leather chairs. BO CATLETT You understand I knew Harry was lying, saying this was n't any good, but holding on to it, man, like you have to break his fingers to get it from him. CHILI That's funny, I was just wondering what I was gon na break of yours to get it away from you. Bo Catlett smiles at him, does n't give up the script. BO CATLETT I'm just explaining to you what I'm doing here. Case you think I come to rob the place, rip off any of this dusty old shit the man has. CHILI I'd never make you as a burglar, not in that outfit. Bo Catlett sits back in the chair a moment, watches Chili light a cigarette. BO CATLETT Harry called you his associate, but what does that mean? I never heard your name or read it in Variety or The Reporter or anyplace. CHILI It's what he said, I'm his associate. BO CATLETT You must bring something heavy to the deal. CHILI That's right, me. Bo Catlett picks up a piece of paper off the desk. BO CATLETT Says here you're getting Martin Weir for the part of Lovejoy. CHILI Yeah, we're getting Martin. BO CATLETT No shit, come on. How you gon na do that? CHILI I put a gun right here. -LRB- touches the side of his head. -RRB-. and I tell him, ` Sign the paper Marty or your fuckin' dead.' Like that. BO CATLETT I wonder, would that work? -LRB- then. -RRB- You know who I see for Al Roxy? Harvey Keitel. The man could do it in his sleep. CHILI Harvey Keitel. Yeah. Maybe. He was pretty good in the movie Fingers. BO CATLETT I missed that one. Or, hey, you know who else? Morgan Freeman. You know Morgan? CHILI Yeah, Morgan Freeman. But he's a colored guy. BO CATLETT So what? Where's it say in this script he's white? Color is what the part needs, man, somebody to do it has some style. The way it is now, Ronnie could do it, play himself, some cracked out asshole. -LRB- then. -RRB- So whatta you think of the script? Bo watches as Chili picks up a copy of the script, begins flipping through it. CHILI Title's the first thing's got to go. And the guy's name. I mean, even this writer's name, Murray Saffrin is better than Lovejoy. BO CATLETT I'm with you on that. And do n't you think it needs a good female part? Increase the romance angle. Chili flips through the script, sees a name. CHILI There's Ilona. BO CATLETT What about her? CHILI Get something going there. BO CATLETT With Ilona? You know how old Ilona is? CHILI She's. young. BO CATLETT Young? She's fuckin' nine - years - old, same age as Lovejoy's kid. Bernie. One she calls Bernard. Have you read the script? CHILI Yeah, I read it. I was just thinking you could make her older. We might even be able to get Karen Flores. BO CATLETT Who? CHILI She's been out of movies a few years, but she's good. Real good. Bo Catlett studies Chili a moment, smiles. BO CATLETT You know what I'm thinkin'? -LRB- leans forward. -RRB- You wan na make the girl older. I do n't like the ending. We could do that, you and me, sit down and write the script over where it needs it. Chili fips through the script a moment. CHILI You know how to write one of these? BO CATLETT There's nothin' to know. You have an idea, you write down what you wan na say. Then you get somebody to add in the commas and shit where they belong, if you are n't positive yourself. Maybe fix up the spelling where you have some tricky words. although I've seen scripts where I know words were n't spelled right and there was hardly any commas in it at all. So I do n't think it's too important. Anyway, you come to the last page you write in ` Fade out' and that's the end, you're done. CHILI That's all there is to it, huh? BO CATLETT That's all. Chili sits forward, stabs out his cigarette, exhales into Bo Catlett's face. CHILI Then what do I need you for? Bo Catlett starts for the door. BO CATLETT I really think I can be of service on this one. CHILI Yeah, well, we need a ride somewhere, we'll let you know.", "EXT. NUART THEATER -- NIGHT As Karen walks up to the box office. A Touch of Evil on the marquis.", "INT. MOVIE THEATER -- NIGHT Not so full. Chili sits in the middle, watching the final scene as Orson Welles gets blown away, falls into the oily river. He ca n't take his eyes off the screen. Karen comes in, starts up the aisle, looking for Chili. She spots him, just as he mouths the dialogue along with Marlene Dietrich. MARLENE DIETRICH -LRB- O.S. -RRB- He was some kind of man. Karen smiles, decides to wait a moment. Chili, lost in the movie. keeps mouthing the dialogue. MARLENE DIETRICH -LRB- O.S. -RRB- What does it matter what you say about people? MORT MILLS -LRB- O.S. -RRB- Good - bye, Tanya. MARLENE DIETRICH Adios. As Tanya/Marlene Dietrich resumes her slow walk away, Karen sits down at the end of the row. People start getting up to leave. Chili turns to a GUY a few seats away from him. CHILI Wow, huh? The guy gives Chili a look, puts his arm around his DATE, and quickly starts up the aisle so that Chili can now see Karen sitting there at the end of the row. CHILI You been here the whole time? KAREN I just caught the end. She gets up, they start up the aisle together. CHILI You know, Welles did n't even wan na do that one. Some studio made him do it. He owed'em one and all his own movies lost money. -LRB- walking out now. -RRB- But, hey, sometimes that's when you do your best work, you got a gun to your head.", "EXT. NUART -- NIGHT As Karen and Chili exit the theater, stand there a moment. CHILI I got you a copy of the script. KAREN I already read it. Harry left a copy at the house. CHILI What do you think? She starts walking. KAREN I think it's not horrible. CHILI I do n't like the title. Or the main guy's name. KAREN Then you've read it? CHILI Not yet. KAREN You and Harry'll make a great team. -LRB- then. -RRB- I'm gon na make a deal with him. CHILI There a part in it for you? KAREN I do n't want to act in it, I want to produce it with Harry. Especially if I help him get Martin. CHILI Sounds fair. KAREN What do you get out of it? He stops, looks at her. CHILI That why you came over here, to ask me that? KAREN I want to know. CHILI Why does anyone want to be in movies? KAREN Yesterday, you were a loan shark. He starts walking again. CHILI I was never much into it. All that bullshit having to do with respect. It's bad enough having to treat those guys like they're your heroes, having to smile when they make some stupid remark they think's real funny. KAREN And you think the movie business is any different? CHILI Yeah well. I like movies. I figure if I help Harry make one, I'll find out what you have to do outside of have an idea and raise the money. That does n't sound too hard. I was in the money business and I get ideas all the time. They stop at her car. KAREN I'm talking to Martin tomorrow morning. I told Harry I'd meet you and him at Abiquiu afterward. -LRB- opens her door. -RRB- This might work, you never know. He stands there, watching her drive away.", "EXT. HARRY'S APARTMENT BUILDING -- NIGHT Just above Franklin in the Hollywood Hills. A realtor might call it Chandleresque. We call it old and cheap.", "INT. HARRY'S APARTMENT -- NIGHT Continuing on the old and cheap theme. Harry stands behind the wet bar pouring himself a strong one. He looks at himself in the smoke - tinted mirror squares, downs the drink in one and pours himself another. A KNOCK AT THE DOOR. Harry looks at the door. HARRY Who is it? WOMAN'S VOICE Me. HARRY -LRB- lower. -RRB- Fuck. WOMAN'S VOICE I heard that. Harry moves to the door and opens it to reveal DORIS SAFFRIN - fiftyish, fur coat, hair up so that we can see the nifty necklare. She leans in the doorway. HARRY Hello, Doris. DORIS Harry Zimm. You look like a wet kiss. And she plants one on him. Walks into the apartment. Looking good for her age. Hell, for any age. DORIS Well, are n't you gon na offer me whatever it is you taste like? HARRY Come on in. Doris goes to the window. Harry goes to the bar, pours them each a drink. DORIS What a spectacular view. HARRY Yeah, lovely. Last night I watched two guys carjack a Camero down on the corner of Argyle there. -LRB- hands her the drink. -RRB- What do you want, Doris? She drinks, never taking her eyes off him. DORIS I miss Murray, Harry. HARRY Yeah, me too. He was a helluva good writer. And I would know. I discovered him. Made him what he was. DORIS What he was, was a hack, could n't get a job writing for anybody but you. -LRB- off Harry. -RRB- I'm being honest. He was a lousy writer, but he was a good husband. I just did n't know it until too late. Harry finishes his drink, pours himself another. HARRY Yeah, well, twenty - twenty hindsight and all that. Harry takes a big, noisy pull off his drink as she moves to the bar. DORIS I hate being alone. The house is so quiet. So lonely. It needs. -LRB- studies him. -RRB- A man's touch. And with that, she opens up the fur coat to reveal that she's wearing nothing but a garter belt and high heels. HARRY Nice garter. She sets her drink down, moves in, wraps her arms around his neck. HARRY I'm not sure how I feel about this, Doris. DORIS -LRB- reaching down. -RRB- You seem to feel fine about it. HARRY I mean morally. Murray was my friend. DORIS Murray's dead. She kisses him. Harry pulls back. HARRY So this means you've reconsidered our deal on Mr. Lovejoy? DORIS No. But now that you mention it, I did talk to a handsome executive at Paramount the other day. who just happened to get his hands on the script. HARRY Yeah, what'd he have to say? DORIS He said if Martin's interested, I could get a half a million for it easy. But do n't worry, Harry, I'm still giving you until Friday. HARRY How honorable of you. Now she backs away, gives him a hurt look. DORIS Harry. If you want me to go, just say the word. Harry looks at her a moment, decides. HARRY What the hell. . And pulls her as close as we then. DISSOLVE TO", "EXT. HOLLYWOOD HILLS HOME -- NIGHT We hear laughter, rock and roll as a NUDE WOMAN dives into a blue - lit swimming pool and swims the length. We then TILT UP to a HOUSE ON STILTS above this one and see the lone figure of Bo Catlett standing on his deck.", "EXT. BO CATLETT'S HOUSE -- NIGHT The shimmering yellow grid of the city in the b.g., Bo Catlett, barefoot, bathrobe, leans on the rail of his deck, watching the folks frolic twelve stories down. YAYO -LRB- V.O. -RRB- Listen to me, man, I do n't wan' no focking key. I wan' the money.", "EXT. BO CATLETT'S DECK -- NIGHT Bo Catlett looks inside where Yayo paces back and forth. The Bear reclines on a chaise lounge. BO CATLETT Hey, Yayo? You gon na smoke, get the hell off my seventy - bucks - a - yard carpet. Yayo steps out on to the deck. BO CATLETT I told you where the money is. All you got ta do is go get it. YAYO No. I'll tell you something BO CATLETT That's all you know, huh? Wait here a minute, Yayo, I be back directly. Yayo leans against the railing, cuts a ` now that's the way you get things done' look at the Bear. He lights a cigarette, looks o.s. and freezes. YAYO The fock you doing with that? Bo Catlett holds a big.45 out in front of him. BO CATLETT I'm taking you out, Yahoo. . and shoots Yayo in the chest, the gun going off loud, the round knocking the little Latin man back against the railing. BO CATLETT Dead focking center, man. Yayo, a stupid look on his face, stumbles backwards, over the railing. The Bear reaches for him, but it's too late.", "EXT. HOUSE DOWN BELOW -- SAME TIME The group down here is too stoned to notice the little Colombian who falls from the deck high above like a sack of dirt, then slides partway down the slope.", "EXT. BO CATLETT'S DECK -- SAME TIME The bear looks over at Bo Catlett. who now calmly stares down at the motionless form of Yayo. BO CATLETT Shit, now someone's got ta climb down there and get him. BEAR You did n't have to shoot him, Bo. We coulda just beat him up some. BO CATLETT You see that? The way the man just went right over? Bo Catlett takes a sip of his drink, looks at the railing. BO CATLETT Maybe we can get Chili Palmer up here. You fix my railing to give way like they do in the movies. Then I invite the man out here, have a look at my view. Get him to lean over the railing, see all the naked people down there. a tragic accident, officer. Bear looks at him. BEAR Cat, that's the lamest idea I've ever heard. BO CATLETT Yeah, well, I'm bored, Bear. I wan na make movies. Bear looks at him. BO CATLETT I mean, what's the point of living in L.A. if you're not in the movie business? Bo Catlett leans on the railing, looks down at Yayo again. BO CATLETT And I mean high up in it. -LRB- turns to Bear. -RRB- That's why Harry's gon na make Mr. Lovejoy with me, not Chili Palmer. BEAR Mr. Lovejoy? That's cute, Bo. BO CATLETT Does n't matter what it's called, Harry's got Martin Weir and it's gon na be big. BEAR They all sound big at the talking stage.", "EXT. MARTIN WEIR'S HOUSE -- MORNING Karen pulls into the driveway in a convertible BMW. As she checks her make - up in the REARVIEW MIRROR, we see Chili pull up behind her in his rented minivan. She turns aronnd, frowns, and quickly gets out of her car. He gets out of the van. holds up a Star Map. CHILI This thing's actually accurate. I bought it for ten bucks from a kid in a lawn chair on Sunset. KAREN You were supposed to wait for me with Harry at the restaurant. Chili points to a star on the map. CHILI See, here it is. Martin Weir's house. right across the steet from George Hamilton. VOICE Chili, Jesus! They both look to the front door where a tall, skinny WOMAN with wild, jet black hair stands. WOMAN It is you. She comes bounding down the steps, runs over and gives him a hug. Karen ca n't believe what she sees. CHILI Nicole? WOMAN It's Nicki now. I do n't believe this. CHILI Me neither. -LRB- to Karen. -RRB- We know each other. Karen smiles ` How ` bout that.' Then looks at Nicki. KAREN Hello, Nicki. NICKI Karen. Shit. I did n't see you there. How are you? Karen starts to answer, but Nicki's already hustling Chili inside.", "INT. MARTIN WEIR'S HOUSE -- DAY White everything. Way off in the b.g., a view on to the huge backyard. A pool man cleans the pool. A gardener blows the leaves. Martin's extensive photography collection lines the walls. Chili steps inside, checks some of them out most of the photographs are of Martin. NICKI Martin will be out in a minute. -LRB- to Karen. -RRB- Chili was the only one at Momo's did n't hit on me. KAREN What a gentleman. NICKI You like my hair? -LRB- reaches up, touches it. -RRB- Black like this? CHILI It's nice. Especially under your arms. Somehow this makes Karen feel better. NICKI Martin wo n't let me shave. I guess I fill some need. Brings him back to the sixties or something. Karen turns as we hear a TOILET FLUSH somewhere o.s. NICKI -LRB- looks o.s. -RRB- Speak of the devil. Chili follows her gaze and we see. MARTIN as he comes down the stairs, checking the front of his trousers. He and Karen spot each other. Both look uncomfortable for a fraction of a second, then Martin hurries over to her. MARTIN Karen. Wow. Look at you. KAREN Hello, Martin. He hugs her and hangs on, leaving Nicki and Chili standing there like idiots. MARTIN Mmmmm. You smell terrific. -LRB- to Nicki. -RRB- She always smelled so good. NICKI -LRB- thrilled. -RRB- Neat. -LRB- then. -RRB- Martin, this is Chili Palmer. MARTIN Chili is it? CHILI Yesh, a pleasure, Martin. NICKI Chili's a gangster. Ran a club I used to play at for another gangster back in Miami. How is Momo these days anyway? CHILI Dead. Karen fights a smile. Nicki nods solemnly. NICKI Bummer. -LRB- then. -RRB- Well, I'll let you all get to your movie talk. Chili, make sure you say good - bye before you leave. CUT TO A PORTRAIT OF MARTIN WEIR Done in cracked oils, the whole bit. PULL BACK TO REVEAL MARTIN'S LIVING ROOM Martin, Karen and Chili all sit on white couches. Martin is checking out Karen, nodding. MARTIN I'm sitting here, I'm looking at you and I'm having these flashes. You know, flashbacks, of memories. -LRB- touches her hair. -RRB- Of us. KAREN Really. MARTIN Yeah and I'm wondering, how did it go wrong? How did it all. slip away? KAREN ` It' did n't slip away, Martin, you did. when you went off to fuck Nicki in the middle of my birthday party. Martin brings his hand back, nods, lost in thought. MARTIN Yeah. That was a good party. CHILI You know, Marty, you were good in The Cyclone. MARTIN Martin. It was a beautiful role. All I had to do was find the character's center, the stem I'd used to wind him up and he'd play, man, he'd play. Karen looks like she wants to throw up. CHILI Well, you had it down cold. Watching you in the movie, if I did n't know better I'd have to believe you were a made guy and not acting. Even the fink part. I never met a fink and I hope to God I never do, but how you did it must be the way finks act. MARTIN A few weeks before shooting, I went back to Bensonhurst, just to listen to you guys. See, I'm Italian, but I grew up in Tarzana. So I wanted to pick up your rhythms of speech. CHILI We talk different? MARTIN It's more like your attitude. Your tone, your speech patterns demonstrate a certain confidence in yourselves, in your opinions, your indifference to conventional views. CHILI You mean like we do n't give a shit. MARTIN Yeah. Kinda. Anyway, once I have the authentic sounds of speech, the rhythms, man, the patois, I can actually begin to think the way those guys do, get inside their heads. Chili exchanges a look with Karen who sits back now. Ready to give up. CHILI Okay, I'm one of those guys you mentioned. I'm actually one of'em. What am I thinking? Martin looks at Chili. MARTIN Do n't get me wrong, I'm not saying an actual metamorphosis takes place. That would n't be acting. Karen looks at Martin, shakes her head. CHILI So you do n't know what I'm thinking. MARTIN No, I do n't. Though I have to say I'm curious. CHILI So you want to know. MARTIN If you'd like to tell me, yeah. CHILI I'm thinking of a movie. MARTIN One of mine? CHILI One we're producing. MARTIN With what? Wiseguy money? Martin cracks himself up. Karen and Chili crack up with him, Karen leaning into Chili. KAREN Maybe this was a bad idea. But Chili keeps looking at Martin. CHILI Martin, I'm not connected to those people anymore. Not since I walked out of a loan - shark Operation in Miami. MARTIN What happened? The pressure got to you? CHILI Pressure? I'm the one applied the pressure. Chili sits back. Karen is starting to enjoy Chili's handling of Martin. CHILI You're an actor, you like to pretend. Imagine you're the shylock. A guy owes you fifteen grand and he skips, leaves town. What do you do? Chili watches as the movie star hunches over, narrows his shoulders. For a few moments he holds his hands together in front of him, getting a shifty look in his eyes. Karen shakes her head. KAREN Oh, for Christ's sake - MARTIN I know. I'm doing Shylock instead of a shylock. Okay, what's my motivation? The acquisition of money. To collect. Inflict pain if I have to. Karen watches as Martin stares at Chili, his expression gradually becoming deadpan, sleepy. MARTIN Guy owes me fifteen large and takes off, I go after him. The fuck you think I do? CHILI Martin, look at me. MARTIN I'm looking at you. So is Karen, for that matter. CHILI No, I want you to look at me the way I'm looking at you. Put it in your eyes, ` You're mine, asshole,' without saying it. MARTIN Like this? CHILI What you're telling me, you're tired? You wan na go to bed? MARTIN Wait. How about this? CHILI Now you're squinting like you need glasses. Karen looks away now, fighting a smile. CHILI Look at me. I'm thinking, You're mine. I fuckin' own you. What I'm not doing is feeling anything about it one way or the other. You understand? You're not a person to me, you're a name in my collection book, a guy owes me money, that's all. Martin nods, gives Chili a nice dead - eyed look. Karen is thoroughly enjoying Chili's manipulation of Martin. MARTIN How about this? CHILI That's not bad. MARTIN That's what I think of you, asshole. Nothing. CHILI I believe it. MARTIN I turn it on when I confront the guy. CHILI Yeah, but you have n't found him yet. -LRB- then. -RRB- The guy took off for Las Vegas. MARTIN How do I know that? Karen looks at Chili as he sits back. CHILI The guy's wife tells you.", "INT. ABIQUIU RESTAURANT -- DAY Two floors, the upstairs with a railing overlooking the bar. Harry, a drink in front of him, sits in a big corner booth upstairs. He checks his watch. VOICE Harry, how you doing? Harry looks up to see Bo Catlett, dressed up as usual, standing there with the Bear, wearing a Hawaiian shirt. HARRY Bo. I'm great. Listen, I'm expecting some people - BO CATLETT You must be makin' some big deals, doin' lunch in a place like this? HARRY I'm working on a few things. BO CATLETT Yeah, I hear you bagged Martin Weir for Mr. Lovejoy. HARRY Boy, this town. Word gets around, does n't it? Harry chuckles, takes a sip of his drink. BO CATLETT Chili Palmer told me. Harry's smile goes away. BO CATLETT Last night. When he called me over to your office to talk about it. HARRY Chili Palmer showed you my script? BO CATLETT Yeah, I was wondering why he should do that.", "INT. MARTIN WEIR'S HOUSE -- SAME TIME Martin is leaning forward. Hooked. MARTIN The wife sues the airline. -LRB- nods. -RRB- This is a gutsy babe. CHILI Good - looking, too. -LRB- turns to look at her. -RRB- Like Karen. Chili smiles at her. Martin leans forward. MARTIN So when do I meet up with the husband and give him the look? CHILI It's not that simple. You have to be careful. There's another guy that comes along, a hard - on you owe some money to. A mob guy. Wants to take you out anyway, on account of a past situation. MARTIN Okay. I'm listening. Chili stops ; he does n't know what else to say. Martin waits, then looks at him a moment. CHILI At that point, basically, that has to be it. MARTIN You're not going to tell me the rest? KAREN Well actually, Martin the movie we came to talk about is Mr. Lovejoy. CHILI Yeah. We understand you read the script and like it. a lot. MARTIN Refresh my memory. CONTINUED", "INT. ABIQUIU -- SAME TIME Harry drains his drink. Bo Catlett exchanges a look with the Bear, then. BO CATLETT Listen, Harry, how would you like to get your hands on five hundred grand? You pay me back at your convenience, no interest. HARRY You serious? BO CATLETT All I want in return is to work on the movie with you. Fact I already got some ideas on how to fix it up. Bo Catlett signals the waiter. BO CATLETT How ` bout another one for Mr. Zimm. A double. HARRY You're gon na just give me five hundred grand? BO CATLETT We'll talk about that, Harry. But first I got ta know, how'd you hook up with Chili Palmer.", "EXT. MARTIN WEIR'S HOUSE -- DAY Karen, Martin, and Chili walk out to the driveway. MARTIN Lem me talk to Buddy, set up a meeting. CHILI Buddy? KAREN Lufkin. His. agent. MARTIN Yeah, Karen knows him. KAREN But you are interested? MARTIN I'm intrigued, yeah. You know what might help you, take a look at the Cylone again, the way a visual fabric is maintained even while the metaphor plays on different levels. Hey -. -LRB- nods to minivan. -RRB- This your ride, Chili? Chili follows Martin over to the minivan, opens the door for him. MARTIN Very nice. CHILI Yeah, I like it, I'm high up, I can see everything, you know? It's the Cadillac of minivans. MARTIN What's that? CHILI Compass. MARTIN Wow. -LRB- then. -RRB- Mind if I take it for a spin?", "INT. ABIQUIU RESTAURANT -- DAY Bo Catlett and Harry are laughing as Harry, very drunk now finishes another drink. BO CATLETT He was watching Letterman, huh? Sneaky, that Chili Palmer. -LRB- signals the waiter, then. -RRB- So, he ever find this dry cleaner, the one with all that money on him? HARRY Leo, I do n't know. Bo Catlett and the Bear look at each other. BO CATLETT I bet he did and he ai n't givin' you a penny of it, help you out. Not the way I am. Harry looks at Bo, ca n't believe what's happening to his life, thinks a moment, then. HARRY Assuming I go along with this, when can I have the five hundred? BO CATLETT Whenever you want it. The money's in hundred dollar bills inside one of those jock bags, you know? In a locker at the airport, waiting to be picked up. HARRY The airport. BO CATLETT It was waiting out there on another deal, one that did n't go through ; one you do n't want to know about. Harry shakes his head, looks around the restaurant. Bo and the Bear exchange looks, then. HARRY I do n't know. BO CATLETT It's not the kind of thing you do. Another glance at the Bear, then. BO CATLETT That's why I was thinking you could send your boy Chili Palmer. He gets busted or hit on the head you are n't out nothing. And with that, Bo Catlett calmly slides an ORANGE KEY across the table to Harry. Harry stares at it. It has the number C - 18 printed on the flat orange part. HARRY C - 18. BO CATLETT That's the magic number. BEAR Cat. And they all look. DOWNSTAIRS as Chili and Karen enter the restaurant. Chili checks out the bar, sees they are n't there, then looks up at the railing. keeps his eyes up there as he says. CHILI Wait here. Chili moves to the staircase, now sees the Bear in his Hawaiian shirt standing a few steps from the top. Chili gets within three steps of the guy and stops, but does n't look up, keeps his eyes fixed on the man's gut. BO CATLETT I'd like you to meet my associate, the Bear. Movie stuntman and champion weightlifter, as you might've noticed. Picks up and throws out things I do n't want. Chili does n't move, keeps his eyes on the man's crotch. BEAR We think you ought to turn around and go back to Miami. Chili slowly moves his gaze up through hibiscus until he's looking at the man's bearded face. CHILI So you're a stuntman. Are you any good? The Bear grins and turns his head to the side, as if too modest to answer and will let Bo Catlett speak for him. This makes the next move easier. the guy not even looking as Chili grabs a handful of his crotch, steps aside and yanks him off the fucking stairs. The Bear yells out of pain and fear as the beefy guy rolls all the way down the stairs to land on the main floor, a few feet away from where Karen now stands. Chili keeps watching until he sees the guy move, then looks up at Bo Catlett who's now coming down. CHILI Not bad for a guy his size. Chili continues up the stairs to where Bo Catlett stands beside the table. Chili unbuttons his coat. CHILI I'll make you a deal. If you can get out of here before I take my coat off, I wo n't clean the floor with you, get your little costume all messed up. Karen watches now as Bo Catlett puts a hand in his coat packet, steps right up to Chili. BO CATLETT You do n't know me. You only think you do. Bo walks past Chili, goes down the stairs. Chili watches as Bo Catlett helps the Bear get to his feet. They leave the restaurant, the Bear looking over his shoulder at Chili. Even Karen is looking at him differently now as they slide into the booth with a now shocked, rapidly sobering Harry. CHILI Rough business this movie business. I may have to go back to loan sharking for a rest. Harry does n't say anything. Karen looks at him. KAREN Harry, what're you still doing with those guys? HARRY He happens to be loaning me five hundred grand, no strings, I write any kind of agreement I want. CHILI Is he giving you a check or cash? HARRY Cash. It happens to be waiting right at this moment in a locker at the airport. KAREN A locker at the airport? Jesus Christ, Harry. Tell me you're not really that stupid. CHILI The guy's setting you up. You pulled out of their Freaks deal so he's paying you back. HARRY Oh, is that right? I'm being set up? Then how come Catlett said I should send you out to get it, since you have n't done a fucking thing for me since you got into this. except showing Bo Catlett my script? Chili looks at Karen, smiles, shakes his head. CHILI Okay, Harry, I'm wrong. You're not the one he's setting up. HARRY I mean, at least Bo's invested in three of my movies. KAREN Harry, we spoke with Martin. HARRY ` We?' KAREN Chili and me. Harry looks at the two of them, differently now. HARRY Really. CHILI Yeah, he wants us to talk to Buddy, set up a meeting. HARRY A meeting with who? You and Karen? KAREN Harry - HARRY Man's in town two days, thinks he's David O. fucking Selznick. Karen and Chili look at each other as Harry finishes his drink. HARRY So how ` bout it, Mr. Selznick, do I make my deal with Bo? Or you gon na finally help me out, have a word with your dry cleaner when you find him. CHILI I found him. Harry looks at him. CHILI Forget about Leo's money, Harry. HARRY You have it? CHILI Harry, if I gave you Leo's money you'd have Ray Bones all over your ass and then you'd be in a whole new kinda trouble. HARRY Who? CHILI Ray Barboni. Guy from Miami, owns Leo now that Momo died. HARRY Who the fuck is Momo? Jesus, these fucking names. CHILI Tell you what, Harry, tomorrow morning, when the airport's crowded, I'll go check it out. If I do n't see a problem, I'll pick up the money. KAREN I would n't get my hopes up, Harry. Harry thinks a moment, lays the key on the table, but keeps his hand on it. HARRY Maybe I oughta talk to this Ray Bones character myself. See if he wants to invest in my movie. CHILI Do n't waste your time, Harry. The guy's not much of a movie fan. Now c'mon, gim me the key. Harry finally lifts his hand.", "EXT. HARRY'S OFFICE -- NIGHT A light on upstairs. HARRY -LRB- V.O. -RRB- Bones. B - O - N - E - S.", "INT. HARRY'S OFFICE -- SAME TIME Harry sits at his desk, the phone cradled to his ear, a half - empty bottle of scotch in front of him. OPERATOR. -LRB- PHONE. -RRB- I show a ` Dem Bones Barbecue' in Dade County, but that's all. HARRY Oh. Wait a minute. That's not his real name. It's uh. uh. yeah - try Barboni. B - a - r - b - o - n - i.", "INT. RAY BONES' APARTMENT -- NIGHT We start CLOSE ON A TELEPHONE. THE PHONE RINGS and we BOOM UP to reveal a CLOSED DOOR across the room.", "INT. BATHROOM -- SAME TIME Ray Bones nests on the can, humming off key, reading Weir'D Tales, Martin Weir's autobiography. He looks up, listens to the PHONE RING. BONES Fuck. The phone KEEPS RINGING. Bones thinks about it a moment, then tosses the book aside. BONES Fuck fuck fuck fuck.", "INT. FRONT ROOM -- SAME TIME As Bones bursts out of the john and grabs the phone. BONES What? INTERCUTTING HARRY & RAY BONES Phone to his ear, Harry downs another drink, sits up. HARRY Ray Barboni? BONES Who is this? HARRY Are you the guy they called Ray Bones? BONES Depends. Who's this? HARRY Who is this? I'm the one telling you the way it is, okay, asshole? That's who I am. Now you want your three hundred grand or do n't you? BONES What three hundred grand? HARRY The three hundred grand a guy named Leo Devoe scammed off an airline. The three hundred grand Chili Palmer now has in his possession. Okay. This gets Bones' attention. HARRY Hello? You there? BONES Yeah, I'm here. I just do n't like the anonymous crap. It means your either chickenshit or not for real. HARRY Yeah? Well, trust me. I'm very for real. BONES Okay. So who are you? HARRY I work for Harry Zimm, alright? BONES Who? HARRY Harry Zimm. The man happens to be a major Hollywood player. BONES Never heard of him. HARRY Maybe that's because you've never been out've fuckin' Miami, dipshit. Maybe it's time you got on a plane, flew out to L.A. and took a meeting with Mr. Zimm. Bones sits down, trying to put this together. BONES So, what, this Zimm guy asking for some kinda finders fee, that what we're talking about here? HARRY Hey, Zimm does n't ask for dick. Zimm tells you the way it is. or else. BONES Or else what? HARRY Or else use your fucking imagination. Harry hangs up at the other end. Bones stares at the phone. CONTINUED", "INT. HARRY'S OFFICE -- SAME TIME He sits there a moment, also staring at the phone. HARRY Motherfucker. He then realizes his hands are shaking, grabs the bottle and pours the rest of the scotch down his throat.", "EXT. LAX -- SOVEREIGN TERMINAL -- MORNING Busy. Travelers moving along the sidewalk. Here comes Chili. he enters the terminal and we.", "INT. SOVEREIGN TERMINAL -- DAY CUT TO A ROW OF LOCKERS All with keys sticking out of them except one. We push in on that one. C - 18. CHILI stands between rows of lockers on either side of him. He studies them a moment longer, then looks up at the ARRIVALS MONITOR. He starts writing something on a CARD as we push past him. pushing in on # 83 from NEWARK.", "INT. AIRPORT GIFT SHOP -- DAY As Chili buys an L.A. LAKERS T - SHIRT and a BLACK CANVAS ATHLETIC BAG. He pauses to check out the magazine rack, Martin Weir is on the cover of everything including his hardback autobiography `` WEIR'D TALES''. He grabs a copy. Chili puts the book and the T - shirt inside the athletic bag, puts that inside the papergift shop bag, and then looks around. A SCRUFFY LOOKING KID Eighteen or so, checking out the skin magazines as Chili comes up behind him. CHILI You want to make five bucks, take you two minutes? The kid looks at him, but does n't answer. CHILI You go over to those lockers over there and put this in C - 17. The kid still does n't say anything. CHILI It's a surprise for my wife. But you have to do it quick, okay? While she's in the can. That sonuds like it makes sense, so the kid nods. KID Yeah, okay. Chili gives him the paper bag with his purchases, a five dollar bill and three quarters. He watches as. The kid walks over to the row of lockers. puts the quarters into C - 17, opens it, puts the stuff inside, pulls the key and then walks back over to Chili, and hands him the key. CHILI Thanks.", "EXT. AIRPORT -- DAY As a plane touches down.", "INT. SOVEREIGN TERMINAL -- DAY As Chili watches the last few passengers come off the plane. He watches them come through the gate until he's standing there by himself. Okay, he turns and walks down the aisle now to the bank of lockers three high where C - 18 is just about in the middle. He looks both ways, takes his time until a group of people pass behind, giving him a screen, giving him just time enough to open C - 17, grab the black athletic bag, and close the locker. Chili gets about ten yards down the aisle, heading for daylight, when a BLACK GUY IN A SUIT comes towards him and stops right in his path. BLACK GUY/CURTIS Excuse me, sir. Now there's a BIG GUY IN A PLAID WOOL SHIRT next to him, the same guy we saw when Bo Catlett was here. And Christ, ANOTHER GUY now, this one down the aisle, talking on his hand radio. The Black Guy has his I.D. folder open. BLACK GUY/CURTIS Curtis. Drug Enforcement. These are Agents Dunbar and Morgan, would you come with us, please? CHILI What's wrong? What's this about? Agent Curtis turns and starts off DUNBAR Let's follow him and behave ourselves. What do you say? As Chili walks off with the D.E.A. guys we see. RAY BONES Coming out one of the gates. He looks at A GUY holding a square piece of cardboard that reads MR. BARBONE. GUY Mr. Barbone? Welcome to L.A. I'm Bobby, your driver. You have a good flight? RAY BONES -LRB- starts walking. -RRB- I hope you drive better than you fucking spell, jackoff. My name's Barboni, not Bar - bone. As Ray Bones then walks off, we see coming out a different gate. THREE COLOMBIANS All in dark suits. Two big guys in sunglasses flanking one smaller, older guy. BIG GUY You want to go to the hotel first, Mr. Escobar? MR. ESCOBAR I want to get my focking money.", "INT. SMALL AIRPORT OFFICE -- DAY Chili stands there while Curtis opens Chili's wallet and looks at the driver's license while Dunbar in the plaid shirt pulls the Lakers T - shirt out of the athletic bag, feels around inside. The agents glance at each other without giving any kind of sign. CURTIS You live in Miami? CHILI That's right. CURTIS What're you doing in Los Angeles? CHILI I'm in the movie business. CURTIS You're an investor, is that it? CHILI I'm a producer. CURTIS You have a card in here? CHILI Not yet. I just started. Chili watches Curtis pick up the note with the Newark Flight number and arrival time written on it. CHILI I'd appreciate your telling me what this is about. MORGAN I got a John Doe warrant here. I can strip - search you if I want. CURTIS Pat him down. MORGAN Why do n't I strip - search him. CURTIS Pat him down. The big guy puts Chili against the wall. MORGAN Spread your legs. CURTIS What're you doing at the airport? CHILI I was supposed to meet my wife, but she was n't on the flight. DUNBAR Why, you live in Miami, was your wife coming from Newark? CHILI We had a fight and she left me, went back to Brooklyn. I asked her to come out here, you know, thinking with a change of scenery maybe we could get back together, and she said okay, but evidently she changed her mind. CURTIS Your wife a Lakers fan? CHILI I am. I'm a fan of everything that's L.A. I love it out here. He looks over his shoulder to the give the guy a smile. Curtis does n't return it. CURTIS You can go. Chili moves to the table to collect his things. Curtis watches him then. CURTIS By the way, you recall the number of the locker you used? CHILI It was C. I do n't know, sixteen or seventeen, one of those. Why? You looking for anyway, a bomb or something? CURTIS Something should n't be there. CHILI Why do n't you get the attendant to open all the lockers and take a look. Maybe you'll find it. CURTIS That's the idea. I'll think about it. CHILI That's what I'd do. -LRB- looks right at Curtis. -RRB- Make sure I got the right guy next time. CURTIS Get him out've here.", "EXT. FREEWAY -- DAY The usual L.A. traffic. A black caddy in the middle of it.", "INT. CADDY -- SAME TIME As Ray Bones looks out a tinted window at the freeway. BOBBY You ever wanta go to the beach, here's the freeway you take we're coming to. RAY BONES I live in Miami and you want to show me a fuckin' beach? The sun ever come out here, or you have this smog all the time? BOBBY They say the smog's the reason we have such beautiful sunsets. RAY BONES That's what they say, huh? What a buncha fuckin' bullshit.", "EXT. AIRPORT PARKING STRUCTURE -- DAY Chili glances about, makes sure no one's around, then pulls the key for the ` right' locker out from a crack in the pavement, near the stairwell. He then goes up the stairs to", "EXT. AIRPORT PARKING STRUCTURE -- DAY ANOTHER LEVEL where the Bear, in his trademark Hamaiian shirt is standing beside Chili's car. He straightens up as Chili exits the stairwell and walks up to him. CHILI I do n't know how I could've missed you with that shirt on. It's the same as the other one you had only the hibiscus are a different color. Right? BEAR So you did n't have the key with you. CHILI You think I'd be standing here? You set somebody up and you want it to work, it has to be a surprise. Can you remember that? BEAR You spotted them, huh? Chili looks at him, the guy's either dumb or making conversation. CHILI What, did you see it work in some movie you got beat up in? BEAR I have to ask you for that key. CHILI What, the setup did n't work so you want the key back? BEAR Catlett says if you do n't open the locker the deal's off. CHILI You serious? This is how you guys do business? I ca n't believe you are n't dead. The Bear keeps staring, but does n't say anything. CHILI Look, there's no fuckin' way I'm gon na give you the key, outside of you point a gun at my head. Then we might have something to talk about. Now step away from the car. BEAR I do n't need a gun. Where is it? If it is n't on you, it's around here someplace. Chili shakes his head, tired of this, but still feeling a little sorry for the guy. He looks off in a kind of thoughtful way, turns to the Bear again and kicks him in the left knee, hard. The Bear stumbles, hunching over. Chili grabs him by the hair with both hands, pulls his head down and brings his own knee up into the guy's face. This straightens him and now Chili hits him high in the belly as hard as he can, right under the rib cage. The Bear sucks air with his mouth open trying to breathe, helpless now and in pain. Chili takes him by the arm. CHILI Lie down on your back. Come on, if you want to breathe. He gets the Bear down on the concrete, straddles his midsection and reaches down to lift him up by the waist of his pants. CHILI Take deep breaths through your mouth and let it out slow. that's it, like that. The Bear starts to breathe okay again. He checks his teeth now, feeling his nose. CHILI Hey, Bear, look at me. The Bear looks at him. CHILI Tell your boss I do n't ever want to see him again. He made a deal with Harry and a deal's a deal. The Bear nods, dosing and opening his eyes. CHILI What're you hanging around with a guy like that for? You were in the movies, right? A stuntman? What's he ever done he can talk about? You feel okay? BEAR Not too bad. CHILI How ` bout when you went down the stairs? The Bear touches his thigh. BEAR I think I pulled my quadriceps. CHILI So. how many movies you been in? BEAR About sixty. CHILI No shit? What're some of'em?", "INT. HARRY'S OFFICE -- DAY Harry is passed out with his head on the blotter when we hear someone POUND ON THE DOOR. He jerks upright. VOICE Harry Zimm? HARRY What - who is it? Harry, his hair a mess from sleeping on it, looks up at the door as it opens to reveal Ray Bones standing there. RAY BONES The dipshit who's never been out've Miami. Harry wakes up quick, nearly wets himself as Bones then casually steps into the office. HARRY Mr. Barboni. Well. This is surprise. Scrambling now to play it the way Chili taught him, Harry quickly gestures to the red leather chair arross the desk. HARRY Please. Have a seat. Right here in this chair right here. As Ray Bones sits down, Harry moves to the blinds and opens them. Problem is, the sun's setting, so there's no glare at all. Ray indicates the nice red sunset. BONES They say the fuckin' smog's the reason you have such beautiful sunsets. Harry just smiles, sits down at the desk, things already not going too well, about to get worse.", "INT. WINGATE MOTORS OFFICE -- SAME TIME The walls are covered with posters of Porsches and Ferraris, the kind you can buy at the carwash with severely titted chicks sprawled on the hoods. Bo Catlett is behind a big wooden desk on the phone. BO CATLETT Whatta you mean, he faked them out?", "EXT. AIRPORT PAYPHONE -- DAY The Bear, sort of half doubled over. BEAR He knew it was a set up. He was ready for it. INTERCUTTING BO CATLETT & THE BEAR BO CATLETT So where's the money? BEAR I guess still in the locker. BO CATLETT You guess? You mean you do n't know? BEAR I mean I do n't care. Bo Catlett looks into the outer office as a car pulls into the garage. Three dark - shaded gentlemen step out of the car. BO CATLETT Bear, I'm going to call you later.", "INT. WINGATE MOTORS OFFICE -- DAY Bo Catlett hangs up, gets to his feet as the men all look into the office now. BO CATLETT Mr. Escobar. What a surprise. Welcome to L.A. We can now see that one of the Latinos is older, the other two, younger, are his bodyguards. Mr. ESCOBAR, the older, meaner one. steps into the office. ESCOBAR Where is my nephew? BO CATLETT Your who? ESCOBAR Yayo. Where is he? Bo Catlett stiffens. Uh oh.", "INT. GARAGE -- DAY As the two back doors of a limo slum shut. There's half dozen other limos wedged in here.", "INT. LIMO -- SAME TIME Bo Catlett sits in the back, wedged in between the two bodyguards, neither of whom has removed his shades. He faces Escobar on the opposite seat. ESCOBAR He's my sister's kid. No papa. Not too bright. Personally, I think he's a retard. I only gave him the job as a favor for my sister, you understand? BO CATLETT Sure. Family. I know how that goes. ESCOBAR He comes up here with our product. He suppose to come home with five hundred thousand dollars. He never shows up. Meanwhile, my sister's going crazy calling me all the time worried about him. Me, I just wan na know what happened to my focking money. BO CATLETT Well, I do n't know. I gave the man his money, sent him on his way. ESCOBAR You gave him the money? BO CATLETT I gave him a key to a locker that had the money in it. ESCOBAR Now why would you do that? Put the money in a locker? BO CATLETT Because there were a zillion DEA guys hanging around the terminal. ESCOBAR -LRB- flat. -RRB- A zillion, huh? That's a lot. Escobar studies him a moment. Bo Catlett shrugs. BO CATLETT Maybe your nephew panicked, took off. ESCOBAR Where's your partner, the jumpy one? Why is n't he here? BO CATLETT He's around someplace. ESCOBAR I hear he's around Palm Springs. Dealing our product. Product we sold to you for five hundred thousand dollars. -LRB- then. -RRB- Why do you keep talking to me bullshit? I think maybe I have Ramon and Ceasar staple your tongue to your chin. What do you think? Bo Catlett barely glances at the bodyguards, smiles the gleamy smile to the Latin guy in front of him. BO CATLETT You know, you speak very good English, Mr. Escobar. ESCOBAR I went to UC San Diego. -LRB- then. -RRB- We're gon na spend the weekend at the Universal Sheraton. We're gon na take the tour. See the shark. Check out the Miami Vice Action Spectacular. After, we'll come here, get our money. One of the bodyguards says ` Your nephew' in Spanish. ESCOBAR Oh, yeah, and Yayo, too.", "INT. RONNIE WINGATE'S PORSCHE -- DAY As Ronnie zigzags in and out of traffic, giving people the ` look' as he passes. on the carphone. RONNIE His fucking nephew?", "INT. WINGATE MOTORS -- SAME TIME Bo Catlett on the phone. BO CATLETT You get to town, you go straight to the bank, raid the limo account. INTERCUTTING RONNIE & BO CATLETT RONNIE I'm already in town, but it do n't matter. We got dick in the bank. We dumped it all in Harry's movie. BO CATLETT What I'm sayin' is the man wants his money and he wants it now.", "INT. HARRY'S OFFICE -- DAY Ray Bones impatiently listening to Harry. HARRY I'm talking about you, Ray Barboni, owning a piece of a major motion picture. How big a piece is up to you. What I'm saying, you could invest part of the three hundred Palmer owes you or you could invest all of it. It's entirely up to you. Bones leans forward. BONES Where's Leo Devoe? Where's Chili Palmer? Where's my fuckin' money? HARRY Ray. Look at me. Uh - oh. Ray's heard that one before. BONES What? HARRY Look at me, Ray. BONES You say look at you? HARRY That's correct. Look at me. Bones shakes his head, stands up. BONES I tell you what. And in one fast move, Ray Bones grabs the phone off the desk and slams it into Harry Zimm's surprised face. BONES Fuckin look at that, asshole. Bones then yanks the phone out of the wall and throws it down at Harry. BONES And have a peek at that. Ray Bones pulls a pair of black leather gloves from his pocket and steps around the desk. begins kicking the living shit out of Harry Zimm. BONES You know, Harry, this is the exact fucking thing I needed after the fucking plane flight. My ass fell asleep. -LRB- kick. -RRB-. seven times. I need a little fucking. -LRB- kick. -RRB-. exercise. Harry tries to push himself to his feet, but Ray Bones stomps on Harry's hands. breaking them. and Harry falls back down. Bones crouches down. BONES You got a big problem, Harry. Bones grabs him by the hair, picks him up and throws him arross the room into the wall of pictures, many of them coming off their hooks and falling on top of Harry. BONES Hey, Harry. Harry. Do n't you pass out on me. Look up here. Harry, a crumpled heap, looks up and we see his bloody pummeled face as Ray Bones quickly crosses the room. He steps on Harry's neck with his shoe, pinning him to the floor. BONES Where's my money? Harry ca n't speak ; his jaw is broken. He looks sad lying there pinned beneath Ray Bones' shoe, wondering how it all went so wrong. Bones pulls a 9mm from his coat pocket and aims it down at Harry's face. BONES Harry. I'm gon na ask you one more time, then I'm gon na shoot you, you do n't tell me what I wan na know. Harry just makes a noise. Bones aims the gun at him. BONES Where's my money? VOICE Your money? Ray Bones looks over as Ronnie Wingate strolls into the office. Harry actually looks glad to see him. RONNIE Who the fuck are you? BONES Ray Barboni. From Miami. RONNIE What, like that's supposed to mean something to me? Ronnie then puts a cigarette in his mouth, eyes Bones. Harry tries to follow what's happening from the floor. RONNIE The man you're steppin' on belongs to me and my partner. BONES He owes me money. RONNIE Get in line, bro. BONES I do n't like waiting. RONNIE Tough shit, bro. This ai n't Miami. You want something, talk to me. BONES Hey, fuckball, I do n't need your permission. L.A.'s an open city. Ronnie opens his jacket so that Ray Bones can see the.357 Ronnie's got tucked into his belt. RONNIE Yeah, well, I just closed it. Bones looks at the gun, looks up at Ronnie standing there, hands on his hips, holding his jacket open. Bones raises his own gun. BONES You a quick draw. ` bro?' You better be, your piece stuck way down in your belt like that. RONNIE Whatta you got there. some kinda pop nine, the fuckin' Fiat of guns, always jammin' at the wrong time. Okay. Bones thinks about that. His confidence a little shaken. They stand there a moment. Harry raises his hand, makes a gurgling noise as. Ronnie goes for his gun. Boom. Boom. Boom. Harry closes his eyes as Ray Bones shoots Ronnie over and over, knocking the guy backwards until he hits the door, and slumps to the floor. Ray Bones stares at Ronnie a moment, then comes out of his trance, looks down. quickly steps back. BONES Do n't you puke on my shoes, Harry. Harry rolls over on to his side. Ray Bones deep in thonght now, picks the telephone up off the floor, sets it back down on the desk, then looks at Ronnie again. BONES Harry. I need you to do me a favor. Harry rolls over and looks up at Ray Bones. BONES I need you to take this gun and put a pill in the bro over there for me. Harry looks at the dead Ronnie Wingate, slumped up against the door, staring vacantly back at him. BONES I know what you're thinking, ` Why the fuck would I shoot him? He's already dead.' Ray Bones crouches down beside him. Harry winces as Ray puts the gun in Harry's broken hand. BONES But see, the cops got these tests, tell them whether or not a person fired a gun. And I was never here. Harry looks pleadingly at Ray Bones. BONES You understand, Harry? I was never here. You say I was, and I'm gon na come back here throw you out that fuckin' window. Harry looks at the gun, feebly aims it at Bones. Bones frowns, pushes the gun away. BONES C'mon, knock it off, Harry. We do n't have a lotta time here. Harry looks up at Ronnie, raises the gun.", "EXT. KAREN'S BACKYARD -- DUSK Beer in hand, Chili sits in a chaise longue by the pool. Karen watches him a moment from the doorway. KAREN Not a worry in the world. He looks over. CHILI Your pool needs skimming. She comes over, sits down. KAREN That was Martin. He wants to have lunch tomorrow. That is, if you can make it. CHILI Depends, who pays? KAREN Definitely not Martin. Movie stars never pick up the check. They have no idea what things cost. Most of them do n't know their zip code and a lot do n't even know their own phone number. Chili looks at Karen a moment. CHILI How'd you meet Martin anyway? KAREN Not unlike the way Nicki met him. Except it was a wrap party. Why? CHILI I do n't know, I'm just havin' some trouble seeing you two together. KAREN You do n't like Martin much, do you? CHILI Oh, I like him. I just think he's. short. I mean, he's a good actor and all, but I'm wondering what it was exactly you saw in Marty. KAREN For starters, Marty was n't Martin back then. Feeling him staring, she keeps her eyes on the sunset, and tries to change the subject. KAREN So what about your story. You thought of a title yet? CHILI How ` bout Get Shorty? Except that is n't a movie. That's real life. KAREN How ` bout Chili's Hollywood Adventure. CHILI That's a different story. I'm still working on that one, you know, getting the visual fabric just right. -LRB- then. -RRB- Although I've added to it. He looks at her, puts his drink down. KAREN Yeah? CHILI Yeah. There's a girl in it now. KAREN Really. And he leans over and kisses her.", "INT. KAREN'S BEDROOM -- NIGHT Karen and Chili lie in bed together. She looks at him. KAREN I think you could be an actor. I know you're acting sometimes, but you do n't show it. CHILI You thought I was faking? KAREN No. I do n't mean that. I just meant in general. CHILI Oh. The're both quiet a moment. Then. CHILI You do n't mean a movie star? More like a character actor? KAREN Whichever. Let's talk about it tomorrow. But Chili ca n't stop thinking about this now. CHILI I mean I could see myself in movies Robert De Niro had been in. Or I could maybe do an Al Pacino movie, play a hard - on. But I could n't see myself in ones, like say the one where the three guys get stuck with a baby. They do n't know how to take care of it and you see these big grown - up assholes acting cute - KAREN Hey, Chili? Look at me. She leans over and kisses him. Is still kissing him when the PHONE RINGS. They ignore it, let things heat up as we hear the ANSWERING MACHINE pick up O.S. KAREN -LRB- V.O. -RRB- I'm not in right now. Leave a message at the beep. A BEEP, followed by. DORIS -LRB- V.O. -RRB- Hi, Karen. It's Doris. Listen, doll, you might wan na come by Cedars tonight and visit Harry. He's in the emergency room. Chili and Karen both jerk upright.", "INT. EMERGENCY ROOM -- SAME TIME As Doris leads Karen and Chili towards the triage area. DORIS I stopped by his office to see if he wanted to take me to Le Dome for dinner when I saw Harry and this other man lying on the floor. Doris smiles as two UNIFORMED COPS walk past. DORIS Goodnight, Todd. Night, Louis. Karen and Chili exchange a look as they follow her into. THE TRIAGE AREA Where Harry lies in bed in a pain - killer stupor. Both of his eyes are black. His face is swollen and purple. KAREN Harry. My God. CHILI What happened? He raises a bandaged hand and waves feebly. DORIS He ca n't talk. He's full of Demerol. Harry tries to pull away as she runs a hand through his hair. CHILI Who'd he shoot? DORIS According to Todd - Sergeant Randall - a man named Ronnie came by Harry's office to collect on a debt. He got rough and Harry shot him. CHILI You shot one of the limo guys? Harry gives Chili a sad look. We then hear. VOICE Hello, hello. They all look over as a RESIDENT walks over trailed by several MED STUDENTS. RESIDENT -LRB- enthusiastic. -RRB- Okay. here we go. Looks like Mr. Zimm here's got a broken jaw and some neck trauma to go with those fractured hands. Doris winks at one of the young med students as the resident then turns to her, Karen, Chili. RESIDENT Excuse me, folks. They step back as the Resident pulls the curtain shut, blocking their view of Harry. KAREN Hey, Harry, listen, Martin wanted to meet us tomorrow at the Ivy for lunch. I'd cancel, but Martin's going to Cannes next week, so I think maybe Chili and I should still go. We hear HARRY GRUNT from behind the curtain, then. RESIDENT -LRB- O.S. -RRB- Okay, who wants to take a crack at wiring Mr. Zimm's jaw? Chili and Karen look at each other as we then. DISSOLVE TO", "EXT. BO'S DECK -- MORNING A PHOTOGRAPH OF HARRY ZIMM Standing beside some giant mutant maggot or something. We begin PULLING BACK. now we can read a headline above the photograph, ` PRODUCER INVOLVED IN SHOOTING.' BO CATLETT -LRB- V.O. -RRB- Motherfucker. As Bo Catlett sits on his deck reading the newspaper. From inside, we hear the front door open and a moment later, the Bear steps out on to the deck, with Farrah, his little girl. BO CATLETT Motherfucker. Bo Catlett looks over as Bear CLEARS HIS THROAT, indicates Farrah. BO CATLETT Hey, Bear. I been calling you, man. Where you been? FARRAH Hi Bo. BO CATLETT Hey, Farrah. Hah you, little honey bunny. You wipe your feet, for you come in here? Keep Uncle Bo's carpet nice and white. BEAR You see the paper? BO CATLETT I seen it, but I do n't believe it. Says Harry shot Ronnie five times. Four to the chest and one through his foot. BEAR His foot. Jeez, poor Ronnie. BO CATLETT Yeah, I'm really gon na miss him. Bo throws the paper aside. BO CATLETT Listen, tonight, later on, I got one for you does n't involve any heavy work. I want you to go have a look around Chili Palmer's hotel room. BEAR I ca n't. I got to take Farrah to Satan's place down in Costa Mesa. BO CATLETT Who? BEAR Her mother. Not that it matters because I do n't work for you no more. I quit. I just wanted to come by, tell you to your face so there's no misunderstanding. BO CATLETT Whoa. This is the man used to jump offa high buildings? BEAR Into air bags. There's no cushion under what you're doing. I'm out of it, Cat. I'm done. BO CATLETT Bear. The Colombians are in L.A. Seems they all upset about their money. That ai n't enough, as a bonus, it turns out the yoyo was Escobar's nephew. BEAR That's your problem. You should n't've smoked the guy. Bo Catlett looks at the Bear, then smiles at Farrah. BO CATLETT Come here, honey bunny, come sit with your Uncle Bo. He hates being alone. Bear watches uncomfortably as Farrah sits down with Bo. Bo looks up at the Bear. BO CATLETT Fact, he hates it so much, if he takes a fall, he ai n't gon na fall by himself. Bo Catlett keeps his mouth close to her ear. BO CATLETT He's gon na plea - deal his way out. Give up this ace stunt man now one of the West Coast dope kings, if they go easy on the Cat. BEAR Come here, Farrah. Bo Catlett holds on to her, looks up at the Bear. BO CATLETT I heard in the Federal joints they let you spend an extra five minutes at the glass with your Daddy on Father's Day. BEAR Farrah. Come here. Farrah slips off the couch, walks over to the Bear. BEAR After this one, I'm out, Cat, you understand? This is the last time we talk to each other. BO CATLETT Remember Harry's story about the dry cleaner Palmer was after? Guy who stole the three hundred grand from the airline? BEAR What about him? BO CATLETT I was thinking tonight you could go have a look around Palmer's hotel room while I go check out Karen Flores' place. See if he has n't stashed it somewhere. BEAR -LRB- beat. -RRB- And if we do n't happen to find it under Palmer's mattress or inside Karen Flores' undie drawer? What then? BO CATLETT Just do what I told you and meet me back here at midnight. And he winks at Farrah.", "EXT. KAREN'S HOUSE -- DAY Chili's minivan is parked out front. VOICE -LRB- V.O. -RRB- Sunset Marquis.", "INT. KAREN'S HOUSE -- SAME TIME Chili, dressed in his suit, on the phone. CHILI This is Mr. Palmer. I have any messages. HOTEL OPERATOR. -LRB- PHONE. -RRB- A Tommy Carlo called. He said to tell you that a Mr. Barboni was on his way to Los Angeles and that you should. -LRB- clears throat. -RRB- . get the fuck out of there. CHILI When was this? OPERATOR Two nights ago. Chili hangs up as Karen comes into the room wearing a black suit, no blouse underneath, putting on an earring. CHILI Wow. Nice earrings.", "EXT. KAREN'S HOUSE -- DAY As Karen and Chili walk out to the minivan. CHILI What kinda food they serve at this Ivy place anyway? KAREN Continental, but it does n't matter. Martin wo n't order from the menu. He opens the door for her. CHILI Why not? KAREN Because a movie star can never order straight from the menu. They have to think of something they have to have that is n't on the menu.", "EXT. THE IVY -- DAY As the valet drives off with Chili's minivan, a CAB pulls up and Harry - his hands bandaged, his neck in a massive brace - gets out. KAREN Harry, what're you doing? You're supposed to be in the hospital. CHILI Yeah, Harry, you look like you belong in one of your horror movies. Harry waves them off points to himself as he mumbles through his wired jaw. HARRY my project. He then pushes past them and limps up the steps. The hubub on the patio quiets as the three of them then walk up to the Maitre D'.", "INT. THE IVY -- DAY MAITRE D' Mr. Zimm. Nice to see you. Harry looks at him, not used to being greeted like this. MAITRE D' Right this way. All eyes are on Harry as they're led to a table. Karen sits down, looks about at all of the gawking diners. KAREN You're a celebrity, Harry. You shoulda shot someone a long time ago. Chili watches Harry try to shake a cigarette out of the pack. Chili reaches over and helps him out. CHILI Tell me, Harry, what'd you think of Ray Bones as a person? Harry goes stiff, looks at Chili as he lights one for himself. CHILI Only a guy like Bones would mess you up like this, break your hands for no reason. He shoot Ronnie, too? Harry looks at Karen, quickly looks away. CHILI Thing I do n't get, Harry, is why'd you go and do a thing like talking to Ray Bones. You do n't need guys like him or Bo Catlett. Harry looks at Chili now. CHILI I been here a while now and far as I can tell you're the only person in town actually making a movie instead of just talking about it. Before Harry can answer, we hear a murmur and Chili and Karen look across the patio to the street, where.", "EXT. THE IVY -- DAY MARTIN WEIR gets out of a NEW MINIVAN, exactly like Chili's rental.", "INT. THE IVY -- DAY We PAN WITH Martin as he stops off to say hello to people sticking their hands out at him to greet him, laugh at his stupid jokes. MARTIN Chill. Harry. Chili nods as Martin smiles, leans down and kisses Karen. MARTIN Hi, sweetface. You look great. And mmmmm, you smell good, too. KAREN Thanks. Martin sits down and fans the air in front of him. MARTIN Would you guys mind terribly not smoking? Chili takes another drag, blows it out past Martin. Harry stabs his out, doing the best he can with two broken hands. MARTIN So. Harry. I hear you had quite an experience. Harry grunts. MARTIN Well, I'm glad you're okay. And you know what else? Harry watches Karen and Chili a moment longer, turns to Martin. MARTIN I'm glad you rejected me ten years ago when I auditioned for Eddie Solomon, the pedophile clown in Birthday Boy. Had I gotten the part. I might've gotten typecast. Martin smiles at his own joke, looks up as the Maitre D' approaches. Harry turns back to Chili and Karen. MARTIN You all ready to order? I kind've have another thing after this. Chili watches anticipatingly as Martin studies the menu for maybe a second, returns it to the waiter. MARTIN You know, I feel like an omelette. You think I could have a cheese omelette with shallots, but with the shallots only slightly browned. Karen and Chili exchange looks, pick up their menus. DISSOLVE TO", "INT. THE IVY -- DAY They've finished lunch. Chili shares a bowl of ice cream with Karen. Harry sips cognac through one of those tiny cocktail straws. MARTIN I think the romance angle in your story is critically important, that is n't simply a jump in the sack for either of them. These two become deeply in love. Harry looks up. mumbles through his wired jaw. HARRY Which two? MARTIN -LRB- ignoring him. -RRB- Once their lives are in danger and you have the mob guy coming after them, it not only heightens the tension, it adds a wistful element to their love. HARRY Mob guy? Harry touches his jaw. It hurts to speak. MARTIN I have to consider, I mean, as the mob guy, this is another man's wife I'm sleeping with. KAREN And after all, you have such morals. Harry looks to Karen for help here. HARRY Mob guy? Martin looks at his watch. MARTIN I have to run. But what I hope to see, they begin to have misgivings about wanting the money. It becomes their moral dilemma and they try to rationalize keeping it, but in the end they ca n't. Can they? HARRY What money? MARTIN -LRB- bewildered. -RRB- The three hundred large. What other money is there? -LRB- then. -RRB- I should keep quiet, I know, till I've read the script, but I've got a feeling about this one. I'm that shylock. HARRY Shylock? Harry winces in pain. Martin turns to him. MARTIN Look at me, Harry. Harry's already looking at him. MARTIN Whatta you think, Chill? CHILI That's not bad. I think you got it down. Harry turns to Chili, and back to Martin again. Just now getting it. MARTIN Really, it scares me how well I know him. I could do this one tomorrow, no further preparation. -LRB- to Karen. -RRB- Bye darlin'. you really should think about acting again. I mean, maybe we could even do something together. Now Harry looks at Karen who forces a smile at Martin. KAREN I'll give it some heavy thought.", "EXT. KAREN'S HOUSE -- NIGHT. No lights on. Chili's minivan out front. KAREN -LRB- V.O. -RRB- Chili. Wake up.", "INT. KAREN'S BEDROOM -- SAME TIME Karen sits up in bed. Chili lies asleep beside her. She nudges him. KAREN Wake up. Someone's downstairs. Chili sits up on his elbows, listens. We can hear the TV. KAREN It's Harry. Downstairs. Chili sits up on his elbows, listens. CHILI You sure? KAREN He's doing the same thing you did to him, playing Letterman on TV. CHILI It's not Dave. It's a movie. KAREN Are you going down? CHILI I do n't know. KAREN -LRB- getting up. -RRB- You're as bad as Harry. CHILI I'll go. I'll go. He gets up, pulls on his pants and the Lakers T - shirt he bought at the airport. CHILI Hey, Karen, you have a gun? Any kind would be fine. She shakes her head. He listens to the TV, then. CHILI I think it's Rio Bravo.", "INT. KAREN'S STUDY -- SAME TIME The big - screen TV on loud, the big.45 in his lap. This time it's a movie, a western, not David Letterman that's on. John Wayne and Dean Martin shooting bad guys as Chili steps into the doorway and looks around ; the room is empty now. Chili moves to the television and turns the volume down. He's about to walk out when the dark shape of Bo Catlett steps into the doorway and startles him. BO CATLETT I need the money. CHILI What money? BO CATLETT The three hundred grand you got from a little dry cleaner named Leo. CHILI Lem me see if I got this right, you break into Karen Flores' house, ask me for three hundred grand, does n't even belong to you?", "INT. KAREN'S HOUSE -- HALLWAY As Karen comes down the stairs, she can see Bo Catlett standing in the doorway bathed in the flickering light. BO CATLETT -LRB- O.S. -RRB- Give it to me, I'll be on my way.", "INT. KAREN'S STUDY -- SAME TIME As Chili shakes his head at Bo Catlett. CHILI I ca n't believe the way you guys do business out here. I ca n't believe how fucked up your organization is. BO CATLETT Tell you what. Bo Catlett raises the.45. BO CATLETT How ` bout I give you to three, then I organize your fuckin' brains all over the wall back there. One. CHILI What, you gon na shoot me now, Bo? BO CATLETT In just a second. Two. CHILI I do n't believe this. BO CATLETT Three. Bo Catlett is about to fire. when we hear a SCREAM. Not just any scream, but a completely professional one that fills the house and is all over Bo Catlett so that he starts firing before he's ready, giving Chili time to dive out of the way as. Bo Catlett begins firing all over the room. keeps on firing until without thinking he blows out the TV and the room goes dark and the scream stops. Then. CHILI -LRB- V.O. -RRB- Karen? You okay? BO CATLETT -LRB- V.O. -RRB- She ca n't talk right now. We hear movement, then the lump goes on and we see Chili standing beside the desk looking to the doorway where Bo Catlett now has his hand over Karen's mouth. She struggles, but Bo hangs on to her. BO CATLETT That's a nice scream, lady. You oughta be in movies. CHILI Alright, Bo. You can have the money. but it's not here. I have to go get it. BO CATLETT Okay. Fine. The meantime, I'll just hang on to her for safe keeping. Chili and Karen are looking at each other now. BO CATLETT You know Laurel Canyon? CHILI I'll find it. BO CATLETT I'm at 8150 Wonderland Avenue. It's right off Laurel. CHILI -LRB- looking at Karen. -RRB- Gim me an hour.", "EXT. BO CATLETT'S HOUSE -- NIGHT As Bo Catlett pulls up, drags Karen out of the car.", "INT. BO CATLETT'S HOUSE -- SAME TIME The Bear gets up off the couch as Bo Catlett shoves Karen inside. BO CATLETT You get the money? BEAR No. What's this? BO CATLETT Plan B. Here ya go, honey. He shoves Karen into the bathroom and shuts the door. BO CATLETT Make yourself comfortable.", "INT. BATHROOM -- SAME TIME As Karen shuts the door on him. She listens a moment. BO CATLETT We gon na make a little trade. She spots a copy of Martin's hardback Weir'D Tales by the toilet. KAREN For Christ sake.", "INT. LIVING ROOM -- SAME TIME Bo Catlett goes over to the stereo. BEAR Trade for what? BO CATLETT The money. Fuck. I got ta think. We hear Marvin Gaye OVER. BEAR Jesus, Bo, what're you doing? Karen sticks her head out the door. KAREN He does n't know what the fuck he's doing. Bo Catlett points the gun at her face. BO CATLETT Shut up. She closes the door. BEAR So you kidnapped her? Karen opens the door again. KAREN That's a fucking federal offense, asshole! BEAR/BO CATLETT Shut up! Again she shuts the door. BEAR You get life for kidnapping. BO CATLETT Calm down, Bear. BEAR Calm down? We're going away for life and you tell me to calm down? He taps Bo's gun. BEAR -LRB- ranting. -RRB- Hell, why not just shoot her? Why not shoot everybody. Fuckin' shoot me. Shoot the fuckin' president? BO CATLETT Do n't fade on me now, Bear. Not unless you wan na hold Farrah on your lap in a room fulla felons. The two men stare at each as we hear.", "INT. HOUSE -- SAME TIME CHILI So this's one of those houses you see way up hanging over the cliff. They both look over at Chili, standing in the doorway, lighting a cigarette. CHILI Where's Karen? BO CATLETT -LRB- nods to the closed door. -RRB- In the can. That the money? Chili opens Leo's bag so that Bo can see the money. CHILI Lem me see her. Bo Catlett shrugs, walks over and opens the bathroom door. Karen stands there with her arms folded across her chest. CHILI You okay? KAREN Guy's got a fucking pink toilet, for Christ's sake. BO CATLETT She's great. Gim me the money. CHILI First you and me got ta get a couple things straight. Chili walks to the doorway leading out to the deck and turns around. He eyes Bo Catlett a moment, then. CHILI I've been shot at before - once by accident, twice on purpose. I'm still here and I'm gon na be here as long as I want. That means you're gon na have to be somewhere else, not anywhere near me or Harry or Karen. Chili sets the duffle bag down in front of him. CHILI Here's your money. Take it and leave the movie business to the rest of us, know what we're doing. C'mon Karen. They turn to leave, we hear a LOUD CLICK as Bo raises the gun, takes a step towards them. BO CATLETT You broke in my house and I have a witness to it. CHILI What? Chili looks at the Bear. The Bear wo n't look at him. BO CATLETT Only this time, no John Wayne and Dean Martin shooting the bad guys in El Dorado. CHILI It was Rio Bravo. Robert Mitchum was the drunk in El Dorado, Dean Martin in Rio Bravo, practically the same part. John Wayne, he also did the same thing in both. He played John Wayne. BO CATLETT Man, I ca n't wait for you to be dead. CHILI Bear, you're not really gon na - The Bear hooks one to Chili's face. Chili drops to his knees. BEAR That's for the stairs. The Bear kicks him, sending Chili back into the living room at Karen's feet. BEAR Ever fallen down stairs before? It really hurts. KAREN Hey - Karen moves to help Chili. Bo raises the gun. BO CATLETT You wan na go first, honey? That's fine with me. Bear picks up Chili. BO CATLETT Get him off my carpet, you gon na make him bleed like that. The Bear knees Chili in the gut, then shoves him out on to the balcony. Bo Catlett follows them out there. BO CATLETT Like I say,' I warned him, officer, but he kept coming at me.' The Bear follows Chili out, hits him again. BEAR And that's for the airport. BO CATLETT Hey, he should have a weapon, a knife or something. BEAR We'll get it later. And the Bear hits Chili again. BO CATLETT Okay, Bear. that's enongh. But the Bear ca n't stop, keeps hitting Chili. Bo moves up to the Bear. BO CATLETT Hey, Bear. enough! The Bear looks at Bo Catlett. BO CATLETT You keep hittin' him like that, he ai n't gon na look like he broke in anymore, he gon na look like someone beat him up and then shot him. BEAR You're right. And then the Bear, holding on to the back of Chili's shirt, shoves him towards Bo Catlett, who takes a step back, and grabs the rail behind behind him, and drops the gun as he gets a funny look on his face as. THE RAIL BREAKS AWA Y. BO CATLETT Fuck. He flails a moment, grabbing at spare, but then quickly grabs on to Chili. CHILI Hey - The Bear tries to pull Chili back, but ends up holding a handful of Chili's shirt as both Chili and Bo Catlett go over the rail together and drop from sight. KAREN Chili!", "EXT. FROM THE HOUSE BELOW -- LOOKING UP AT BO CATLETT'S HOUSE As a body falls. too dark to see who.", "EXT. BO CATLETT'S DECK -- SAME TIME As Karen spots THE GUN on the deck as two hands apprar on the edge and the Bear rushes forward. BEAR C'mon, man, gim me your hand. we got ta get outta here. Behind the Bear, Karen picks the gun up off the deck, points it at the Bear. BEAR Hey, Karen, do n't - The Bear reaches down again and BOOM! Karen SHOOTS THE BEAR IN THE LEG. He cries out, falls back and lets go of. CHILI Who now barely hangs on to the deck. CHILI Karen! What the fuck are you doing?! KAREN Oh, shit. I'm sorry. I thought that was. I'm so sorry. She comes over to the edge. helps the now wounded Bear pull Chili back up on to the deck. Then they all stand there looking down at Bo Catlett lying in the weeds and scraggly bushes, a hundred or so feet down, not moving. Marvin Gaye singing ` Ai n't No Mountain High Enongh' as Chili then steps back, looks at the railing. CHILI Jesus. How'd that happen? The Bear starts taking bolts and nuts, old used ones, out of his pants pockets. Wiping each one on his shirt before dropping it over the side. BEAR Beats the shit out of me. BO CATLETT'S POV - CHILI, KAREN, & THE BEAR The three of them looking down. Slowly the picture gets blurry as we then. FADE OUT. We then TILT DOWN TO REVEAL", "EXT. SUNSET MARQUIS HOTEL -- NIGHT As Chili and Karen pull to the curb out front. She looks at him. KAREN Were you scared up there? CHILI You bet. KAREN You do n't act like it? CHILI I was scared then, not now. How long you want me to be scared? She looks off, shakes her head. CHILI I'll be right back. KAREN -LRB- shakes her head. -RRB- Go get your stuff.", "INT. CHILI'S ROOM -- NIGHT As Chili enters, takes off his suitcoat, drapes it over a chair. He takes his suitcase out of the closet, throws it on the bed, and freezes as. RAY BONES extending the 9mm at Chili, comes out of the bathroom. CHILI You do n't need that. You want to sit down and talk, it's fine with me. Get this straightened out. Bones steps further into the room as Chili turns his back on Bones, walks to the sofa and sits down. CHILI How'd you get in here? BONES I told them I was you. I acted stupid and they believed me. CHILI So what brings you to L.A., Bones? BONES Do n't insult me. Get up and turn around. Chili gets to his feet. Bones motions with the gun and he turns to face the painting over the sofa. Bones comes over and lifts his wallet from his back pocket. BONES You're the dumbest fucking guy I ever met in my life. Let's see what's in your pockets. His face still to the wall, Chili shoves his hands in and pulls the side pockets out. Bones turns away. BONES What you should've done was told me about Leo Devoe as soon as you found out. Chili looks over his shoulder to see Bones pulling his suitcoat from the back of the chair. CHILI Why would I do that? BONES'Cause the guy's a customer now, stupid. His ass belongs to me. Bones lays the pistol on the conuter, holds the suitcoat with one hand and feels through it with the other expression changes, his eyes open wider. BONES What have we here? His hand comes out of the suitcoat with the LOCKER KEY. Chili sits down on the sofa again ; he ca n't believe how easy this is gon na be. CHILI Give me my cigarettes. They're in the inside pocket. Bones throws him the coat. BONES Help yourself. Bones then holds up the key to look at it. BONES C - one - eight. Frowning now. Putting on a show. BONES I wonder what this's for, a locker? Yeah, but where is it? Chili sits back to smoke his cigarette, lets it happen. CHILI I checked the bag at the airport, when I came. BONES Yeah? Which terminal? CHILI -LRB- beat. -RRB- Sovereign. BONES You found Leo, did n't you? Took the poor asshole's money and put it in a locker, ready to go. -LRB- looks at him. -RRB- Why have n't you left? CHILI I like it here. Chili shrugs. Bones eyes the key a moment, then. BONES Look, there's no reason you and I should n't get along. Forget all the bullshit from before - I do n't even remember how it started. You took a swing at me over some fuckin' thing, whatever it was - forget it. You owe me some money, right? Forget that too. But, you do n't say a fuckin' word about this to anybody. It's strictly between you and me, right? CHILI Whatever you want, Ray.", "EXT. SUNSET MARQUIS HOTEL -- NIGHT As Ray Bones gets into a cab. WOMAN -LRB- V.O. -RRB- Drug Enforcement Agency.", "INT. CHILI'S HOTEL ROOM -- LATER Chili is on the telephone. CHILI I wan na speak to the agent in charge. WOMAN. -LRB- PHONE. -RRB- What is this in regard to? CHILI A locker out at the airport, full of money. Chili waits. Then. MAN'S VOICE. -LRB- PHONE. -RRB- Who's speaking please? CHILI I ca n't tell you. It's an anonymous call. MAN. -LRB- PHONE. -RRB- Are you the same anonymous asshole called the other day? CHILI No, this is a different one. Have you looked in that locker, C - one - eight? There's a pause on the line. MAN You're helping us out. I'd like to know who this is. CHILI I bet you would. You want to chat or you want me to tell you who to look for? The guy's on his way out there right now. MAN You know there's a reward for information that leads to a conviction. That's why I have to know who this is. CHILI I'll get my reward in heaven. The guy you want has a bullet scar in his head and is wearing gray shoes. You ca n't miss him.", "EXT. SUNSET MARQUIS -- NIGHT As Chili follows the bellboy out of the hotel. He tips the guy, then gets in the car with Karen. KAREN What took you so long? CHILI Could n't find my toothbrush. He kisses her, then starts the car.", "EXT. SOVEREIGN TERMINAL -- LAX -- NIGHT As Bones, seen only from the back now, gets out of the cab, enters the terminal.", "INT. SOVEREIGN TERMINAL -- SAME TIME As Ray Bones, still seen only from the back casually strolls through the terminal, playing with the LOCKER KEY in his hand. Ray walks right up to C - 18 and inserts the key, turns it, and opens the locker to reveal a BLACK ATHLETIC BAG sitting inside. Chuckling, he then reaches inside. then stiffens as we hear A CLICK as a RED LASER DOT hits him in the temple. VOICE Look at me, Boots. Bones turns his head and we see that it's not the Ray Bones we know, but. AN ACTOR, a tough - looking guy with a scary face. WE PULL BACK FURTHER TO REVEAL MARTIN WEIR standing there with the biggest fucking gun with laser scope we've ever seen. A BEAUTIFUL WOMAN with the biggest - well, you get the idea - is standing next to him. She screams. WOMAN Watch it, Steve! Bullets and blood fly as the tough guy pulls a gun from the locker and begins firing wildly at Martin and the Woman and Hare Khrishna's and anybody else who happens to be in the vicinity. Martin, the tough guy only two feet away, calmly aims his gun and pulls the trigger, but nothing happens. He shakes the gun. MARTIN Dammit. not again. DIRECTOR Cut! PULL BACK FARTHER TO REVEAL A SOUNDSTAGE Set up like the airport terminal. Martin throws a fit about the malfunctioning prop as The Bear walks up to him. BEAR Martin, maybe you should dive or roll out of the way or something. HARRY Alright, let's wrap! We'll pick it up tomorrow! As Karen crosses the soundstage, we track along the backs of a row of director's chairs with the names. MARTIN WEIR. HARRY ZIMM. KAREN FLORES AND. CHILI PALMER. Chili stands chatting with BUDDY LAFKIN. BUDDY But Martin already told me he loves it. CHILI Look, I do n't know, Buddy, I do n't think Martin's right for this new one. BUDDY Why the hell not? CHILI He's too short.", "EXT. SOUNDSTAGE -- DUSK As Karen, Chili, Harry, Martin, and Buddy all exit the soundstage. Karen and Chili get into Chili's minivan. As they pull out, we see the name ` C. Palmer' painted in the space. We then CRANE UP AND BACK as Harry, Martin, and Buddy each get into their own minivans. and we then. FADE OUT." ]

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[ "INT. \"THE DRAGON\" NIGHTCLUB - NIGHT A Chinese GONG SOUNDS and the glittering doors of an art Deco pa - poda slide open to reveal a mammoth silver stairway down which rows of beautiful women start descending -LRB- BEGIN MAIN TITLES -RRB- The lovely ladies are a mix of races and they sing a strange, haunting melody - one might think them a heavenly choir, if it were n't for their sexy, clinging lame gowns.", "INT. CLUB ENTRANCE From the ethereal beauties, we cut to a street urchin's dirty face : SHORT ROUND is a ten - year - old Chinese kis wearing a beat - up American baseball cap. Sneaking into the club, Short Round weaves past the fancy gowns and silk suits, heading toward the music in the main ballroom.", "INT. THE BALLROOM Short Round enters and stares across the smoky nightclub. On the stage, he sees a giant paper - mache dragon laying curled around the pagoda. Now, the dragon's eyes light up, its nostrils exhale smoke and its enormous jaws open. Out of the dragon's mouth walks the star of the stage show : WILLIE SCOTT, a dreamy beauty singing a sultry solo white the or - chestra wails the accompaniment. But Short Round's not here to ogle crooning dames. He surveys the rich Chinese, American and European revelers. Jewels flash and champagne flows. Short Round finally spots a table of somber - looking Chinese men in suits. Short Round chews gum and stares at the men. Then he turns to go. WU HAN, a waiter with a scar across his cheek, watches Short Round leave.", "INT. CLUB ENTRANCE As Short Round hurries toward the exit, he bumps into a man in a tuxedo entering the club. Short Round looks up at the man, but we do n't see his face. Then Short Round is grabbed by the scruff of his neck and a door - man hustles him out the door, Short Round yelling insults all the way. A maitre d' apologizes to the man in the tuxedo and two hat - check girls smile at him familiarly as he continues into the ballroom. We notice something incongruous : the man in the tuxedo is wear - ing work boots caked with mud.", "INT. THE BALLROOM The man in the tuxedo stops to watch Willie Scott singing sexily on the stage. Then he looks around and sees the table of somber Chinese men that Short Round spotted earlier. As the man in the tuxedo walks toward the table, he removes a cigarette from a silver case. He arrives at the table just as the chorus and orchestra reach a crescendo - And on the stage, a glistening, muscular slave swings a huge ham - mer toward an enormous brass gong - The man in the tuxedo leans to receive a light from a cigarette - girl and, as the GONG BOOMS, the match flares to reveal his face for the first time : It's INDIANA JONES. Elegant in a tuxedo - dressed to kill. The TITLES END and over this a legend appears on the screen : SHANGHAI - 1935 At the table, the four Chinese man in suits stare coldly at Indi - ana. LAO Dr. Jones. INDIANA Lao She. LAO Nee chin lie how ma? Lao's men laugh and assume that Indy does n't understand his joke. INDIANA Wah hung how, nee nah? Wah hwey hung jing chee jah loo nee kao soo wah shu shu. LAO SHE looks angry and his men's smiles fade. LAO You never told me you spoke my language, Dr. Jones. INDIANA I do n't like to show off. Indiana takes a seat across the table from Shanghai's notorious crime - lord. Lao is fifty, wealthy enough to now display some fat, but still muscular from his fight to the top of the garbage heap. LAO For this special occasion, I ordered champagne and caviar. Indiana looks at the pile of caviar on the plate in front of him - and stubs his cigarette out in it. The cigarette sizzles and Lao's smiles dies with it. There's applause as Wille Scott finishes her song. At the table, Lao stares at Indiana with a strange intensity. LAO So, it is true, Dr. Jones? you found Nurhachi? INDIANA Sure, I found him. Then last night I had a little trouble. Somebody tried to slit my throat. Indiana looks across the table at Lao's son, CHEN, who resembles a bulldog and snarls like one now. INDIANA -LRB- Cont'd. -RRB- It was dark, but I think one of your sons tried to get Nurhachi without paying for him. Indy stares pointedly at Chen's recently bandaged hand. Chen mutters and stands angrily - Lao barks a command in Chinese and Chen sits down again. LAO You have insulted my son. INDIANA Next time I'll cut off more than his finger. LAO Dr. Jones - I want Nurhachi. Lao pulls a wad of cash out of his pocket and puts it on the table. Indiana glances at it. INDIANA As I recall the deal was consid - erably more. Now a pretty hand slips onto Lao's shoulder and he looks up to see Willie Scott. Lao kisses her hand. Willie is unaware of the explosive mood at the table and she smiles flirtaciously at Indi - ana. WILLIE -LRB- to Lao. -RRB- Are n't you going to introduce us? LAO This is Willie Scott. -LRB- watching Indy. -RRB- And this is Indiana Jones, the famous archaeologist. Willie sits down between Lao and Indy. She takes out a small mirror to check her make - up. LAO -LRB- Cont'd. -RRB- Dr. Jones found Nurhachi for me and is about to deliver him - now. Lao nods across the table and Indy sees KAO KAN, Lao's second son, open his coat and remove a silver - plated pistol. Indiana looks worried. Willie does n't notice as she fixes her make - up and coyly teases Indiana. WILLIE Well - I thought archaeologists were always funny little men searching for their mummies -. -LRB- yelping. -RRB- Aaahhh! She looks down terrified at the knife Indy is poking against her ribs. WILLE -LRB- Cont'd. -RRB- I was only kidding, ca n't you take a joke -? -LRB- to Lao. -RRB- Lao, he's got a knife! INDIANA Put the gun away, sonny. Kao Kan glances at his father. Lao finally nods to his son and he slips the pistol back into his pocket. INDIANA Now I suggest you pay me what you promised - or your girlfriend here is going to be squealing a new tune. The ritzy patrons at the tables nearby are unaware of the tawdry drama quietly unfolding at this table. Willie eyes the blade and whimpers. She looks imploringly at Lao and he slowly reaches into his pocket. He puts ten gold coins next to the cash on the table. Indy leans forward to look at the gold coins - so intently that he fails to notice Kao Kan spilling some powder into Indy's cham - pagne glass! INDIANA Try again Lao - the deal was more. The knife pokes Willie and she whimpers again. Lao reaches into another pocket and brings out a folded piece of rice paper - he opens it and a large diamond and ruby spill out onto the table. INDIANA -LRB- Cont'd. -RRB- Bingo. you see, Lao, with a but of persuasion, even you can be an honest fellow. Indy smiles and jabs the knife into the middle of the table. Then he lifts his champagne glass in a toast to Lao - who watches expectantly as Indiana moves the glass toward his lips - Suddenly Willie stands angrily, jostling Indy's arm so that he does n't drink his champagne. WILLIE Look at this! He put a hole in my dress from Paris! Lao sees Indy put his champagne glass down and he snarls at Wil - lie - LAO Sit down! Willie quickly obeys. Lao forces a smile at Indy and lifts his glass to seal the deal - LAO -LRB- Cont'd. -RRB- To your health, Dr. Jones. Lao sips hs champagne and watches hopefully as Indy picks up his glass and this time Indy does drink the champagne. Then he reaches for the cash - But Chen grins and puts a silver snuff bottle next to the cash, gold and jewels - he tips the little bottle over and some white powder spills out of it - INDIANA What's that? LAO A bonus, Dr. Jones. That is poison. You just drank the rest of it. Indiana examines his champagne glass and sees a residue at the bottom of it. He swallows and feels sick, wondering it it's fear or the poison already taking effect. LAO -LRB- Cont'd. -RRB- There is an antidote for this poison. You give me Nurhachi - I give you the antidote. Indiana is sweating. Willie looks at him and sees Indy's hand shaking. LAO -LRB- Cont'd. -RRB- The poison works fast, Dr. Jones. Where is Nurhachi? Indiana finally reaches into his pocket. Next to the cash, gold, jewels and poison, Indiana sets down a beautiful small box. Lao and his men stare hypnotically at the exquisite gold and enamel box. WILLIE -LRB- nervously. -RRB- This Nurhachi's a very small guy. Nobody pays any attention to her as Lao reaches for the box. INDIANA Inside are the remains of Nur - hachi - the first Emperor of the Manchu Dynasty. Lao opens the box carefully and stares reverently at the grey powder inside. INDIANA -LRB- Cont'd. -RRB- Now what about the antidote, Lao. LAO -LRB- holding the box. -RRB- At last I have the ashes of my sacred ancestor! WILLIE So, what's the big deal? Let me see it - Qillie grabs Lao's arm and some of the precious ashes spill out of the gold box. Stunned by this desecration of his ancestor, Lao grabs Willie by the wrist and twists her arm - LAO You fool! WILLIE Ow, you're hurting me, you miser - able little hood! INDIANA Let go of her, Lao. And give me the antidote. Lao just laughs evilly - until a waiter moves up behind Lao and the crimelord suddenly stiffens. He lets go of Willie's wrist and raises his hands off the table. Chen stops collecting the money and jewels. Kao Kan tenses and Indy smiles at Wu Han, the Chinese waiter with the scar, who is standing behind Lao. Wu Han has a towel over his hand - under it, he has a pistol pressed against Lao's spine. INDIANA -LRB- Cont'd. -RRB- -LRB- smiling at Wu Han. -RRB- I like the service here. WILLIE -LRB- puzzled. -RRB- Hey, he's not a waiter. INDIANA No, Wu Han's an old friend I brought along. -LRB- to Lao. -RRB- So, the game's not over. Put the antidote on the table, Lao. Lao carefully reaches into his pocket and puts a small glass vial of liquid next to the cash, gold, jewels, poison and sacred box. Indy looks relieved as he reaches for the vial of antidote - then he hears a muffled report! And another! Wu Han groans and sways. Indy starts to stand but Chen immedi - ately turns the smoking pistol with the silencer that he used to kill Wu Han - Indy sees it pointed at him now and he remains in his seat. Kao Kan stands and grabs Wu Han, easing the phoney waiter into the chair he just vacated. The muffled shooting has n't attracted any attention. The nightclub activity continues an Indy speaks emotionally to his dying friend. INDIANA Wu Han - listen to me - I'm going to get you out of here. In pain, Wu Han looks at Indy and struggles to speak - WU HAN Not this time, my friend. -LRB- smiling bravely. -RRB- I followed you on many adventures - but into the great Unknown Mystery, I go first, Indy. Wu Han dies and slumps forward. Indiana is shattered by the death of his old friend. LAO Do n't be sad, Dr. Jones - you will soon join him. Indy's gaze shifts from his dead friend to Lao's sneering face. Then Indy sees the murderous Chen giggling perversely. Indy's anger is compounded by the poison burning in his gut and his vis - ion of Chen's ugly face blurs into a double image - Indy stands up unsteadily. Chen assumes he's about to keel over from the poison - but Indy suddenly turns and grabs a real wai - ter at another table. The waiter holds a long skewer of roasted pigeons that he's just set afire - Indy grabs the skewer of pigeons flambee and hurls is across the table! Chen fires and misses - and screams as the skewer stabs into his chest and the burning pigeons flame in front of his hor - rified face! This the other tables definitely notice. There are screams and all hell breaks loose. Indiana shoves past Willie and reaches for the vial on the table - INDIANA The antidote -! But he's grabbed from behind by Kao Kan.. Indy elbows the punk, reaches back and grabs his head - and somersaults Kao Kan onto the table! As nubmer two son crashes into the table, the impact sends the Emperor Nurhachi's ashes billowing into Lao's stricken face! Indiana yells as he sees the vial of antidote rolling across the table - and falling! Indiana dives and catches the antidote just before it hits the floor - then Indy's hand is brutally stomped on by one of Lao's henchmen and the vial rolls away. Indiana angrily raises his head, smashing it up into the hench - man's groin - the man howls like a banshee and hobbles away. Meanwhile, Willie watches Lao grabbing for cash from the table. Willie lunges past the pigeon - skewered Chen to snatch the jewels, but unfortunately Kao Kan knocks them off the table as he leaps to attack Indy. Indiana scrambles on his hands and knees after the rolling vial. People keep kicking it - he almost has it when Willie runs into him, trips and lands on her back. INDIANA Look out, damn it, I need that antidote! WILLIE Who cares? Where's that diamond! Gunfire explodes and they both scramble in different directions. Indy dives through the fleeing nightclub patrons and slides be - hind a water - spewing fountain. Water kicks up as Indy is shot at by Lao and his henchmen. Indy sees the vial of antidote kicked again and it spins across the marble floor - feeling the poison, Indy shakes his head groddily and splashes water on his face. Meanwhile, Willie is chasing her diamond, shoving through the panicked crowd. She spots the diamond! Another elegantly dresses soman is bending to pick it up - WILLIE -LRB- acidly polite. -RRB- Excuse me, but I believe that's my diamond! Willie smiles and suddenly kicks the woman in the butt! Willie reaches to get the diamond but not before the other woman tackles her. Behind the fountain, Indiana makes a break - he runs and dives on top of a serving cart. The wheeled cart hurtles toward an un - suspecting gunman, crashes into him from behind and sends him flying head first into a row of ice buckets. Nearby, Willie slugs the other lady in the jaw and grabs for the elusive diamond just as the ice buckets showers ice across the floor - which camouflages the diamond! WILLIE Aw nuts! Searching desperately for the jewel, Willie sees the vial of antidote spinning across the floor - as it slides by, she grabs it. INDIANA -LRB- O.S. -RRB- Hey, doll! Do n't move! She sees Indy speeding by atop the serving cart. Lao and his gunmen rush out to block the way. Indy rolls off the cart and slides behind a potted palm as Lao's men open fire again. INDIANA -LRB- Cont'd. -RRB- -LRB- shouting to Willie. -RRB- Hey, do n't go away! I need that! Willie smiles meanly as she slips the vial down the front of her dress, thumbs her nose at Indiana and walks away. INDIANA -LRB- Cont'd. -RRB- If I was n't dying, I'd kill her. Hiding behind the palm tree, Indiana looks around and spots a gi - ant statue at the side of the stage. Indy makes a break for it. As the gunmen open fire, Indy springs onto a chair - jumps onto a table - and leaps onto the stage. He grabs the golden broad - sword from the Chinese warrior statue! As bullets smash into the statue, Indiana hides behind it. Then he jumps out and swings the large sword toward the enormous brass gong. The crimson cord holding the gong is SLASHED! Indy slings the sword at his assailants and gives the three - meter - high gong a helpful shove - The giant gong rolls and echoes as it crashes down the marble steps. Indiana ducks behind it as it gains momentum and rolls across the dance floor. Using the gong as an enormous shield, Indy evades the gunfire ex - ploding - bullets ricochet off the rolling brass gong as Indy runs behind it. Ahead, Willie hurries toward an exit - she hears something and turns - her eyes go wide as she sees the mammoth gong bearing down on her! Willie yells as Indiana grabs her arm and pulls her behind the gong with him - Lao watches amazed as he and his gunmen dodge tables trying to get better firing positions - and more henchmen come into the club now and start firing machine guns! As bullets clang against the gong, Indiana and Willie run behind it. Willie hollers as they head directly for a towering, floor - to - ceiling window! Indiana grabs Willie around the waist and, after the huge gong crashes through the stained - glass window, they both fly after it!", "EXT. \"THE DRAGON\" NIGHTCLUB - NIGHT In a shower of sparkling glass, the enormous gong sails out and crashes down a sloping green - tiled roof. Indiana Jones and Wil - lie Scott hurtle into the night air after it! The gong rolls down the roof and they hit the tiles behind it, Indiana holding onto Willie as they roll one - over - the - other toward the edge - Willie screams as they fall into thin air! Their entwined bodies plummet three stories : ripping through a third - floor awning, crashing through an old man's mattress on a second - floor balcony - Finally they smash through the convertible top of a parked Duesen - berg and fall into the back seat!", "INT. THE DUESENBERG Willie sits up wide - eyed, speechless and amazed to be alive. Then she sees an equally astonished Short Round looking at them from the front seat. SHORT ROUND Wow! Holy smoke! Crash landing! INDIANA Step on it, Short Round! SHORT ROUND Okey doke, Indy! Hold onto your potatoes! The twelve - year - old Chinese kid turns his baseball cap bill - backwards and steps on the gas! The tires squeal as the car roars off - WILLIE For crying out loud, a kid's driv - ing the car?! INDIANA Relax, I've been giving him lessons.", "EXT. THE NIGHTCLUB - NIGHT The Duesenberg races past the entrace to the nightclub as Lao and his man rush out and jump into two black sedans. The sedans screech off in pursuit of the Duesenberg.", "INT. THE DUESENBERG As Short Round eagerly swerves around a corner, Willie holds on for dear life. Indiana suddenly puts his hand down the front of Willie's dress - WILLIE Listen, we just met for crissake! I'm not that kind of gril! INDIANA Do n't get your hopes up - where's the antidote? Indiana withdraws his hand, having finally found the vial. He opens is quickly, tips the vial to his lips and grimaces as he swallows the stuff. WILLIE You do n't look very good. INDIANA Poison never agrees with me. -LRB- shouting forward. -RRB- Pull a right, Short Round, and head for the Wang Poo bridge! SHORT ROUND Check! Gotcha! As the car accelerates, Indy peers out the back window at their pursuers. Willie notices her reflection in the side window - WILLIE Look at what you've done to me! I'm a mess! My lipstick's smeared, I broke two nails, I've got an aw - ful run in my stocking -! Gunfire suddenly explodes, bullets whizz through the canvas top and the rear window shatters and sprays glass! Willie ducks and cringes terrified in the corner - INDIANA Somehow I think you've got bigger problems. Indy grabs his shoulder bag and pulls a pistol out of it. He pokes the gun through the broken window and starts firing back at their pursuers - then he turns and looks ahead. INDIANA -LRB- Cont'd. -RRB- There, Shorty! Through the tunnel! Through the windows we see the car racing into a tunnel. Lights from the pursuing cars flash through the rear window and gunfire echoes in the tunnel. WILLIE What're we going to do?! Where're we going?! INDIANA The airport. No, look out, Short Round! Left, left! Indy reaches over the front seat and helps Short Round navigate.", "EXT. A SHANGHAI SQUARE - NIGHT The Duesenberg tears around the square, followed by Lao's two se - dans. People on the street dive for cover - coolies pulling rickshaws go into hyper - jov - lanterns spanning the street crash down and are dragged behind the Duesenberg. Bullets exlode and amazed prostitutes watch the cars zoom past.", "INT. THE DUESENBERG - NIGHT The chaotic chase continues - bullets whine past and the shred - ded convertible top whips in the wind. INDIANA -LRB- shouting. -RRB- You got the tickets, Short Round? SHORT ROUND Sure, Indy - three tickets! You, me and Wu Han - Shorty throws an envelope back and Indy looks at the three tickets. INDIANA -LRB- sadly. -RRB- Wu Han's not coming, Shorty. Unaware of what happened at the club, Short Round thinks a mo - ment. SHORT ROUND Do n't worry, Indy. Short Round number one bodyguard now! Willie reaches for the extra ticket. WILLIE I'll take the extra ticket. -LRB- grabbing it from Indy. -RRB- Where's this plane going anyway? INDIANA Siam. WILLIE Siam? But I'm not dressed for Siam.", "EXT. COUNTRY HIGHWAY - NIGHT Leaving behind the squalid port, the Duesenberg flies along the highway through the trees. In a moment, Lao's two sedans race by.", "EXT. NANG TAO AIRFIELD - NIGHT The Duesenberg swings around a curve and skids through gravel to - ward the airfield. In the distance there is a small terminal but Short Round wheels the car toward the cargo area - A two - engine passenger plane is revving its motors and the last passengers are boarding. The Duesenberg squeals to a stop and Indy jumps out with Willie and Short Round right on his heels. A contingent of airport Military Police move to bar their way until WEBER, a heavy - set Englishman, runs up pufffing and shout - ing. WEBER No, no, they're all right! Let them through please. INDIANA Thanks, Weber. WEBER Dr. Jones, this is positively the last time our airline can hold a plane for you. Now you must hurry! While Short Round grabs a small bag out of the car, Weber and a stewardess take their tickets and rush them all toward the air - plane. Meanwhile, the two sedans skid to a stop and Lao and his son Kao Kan jumpsout with their henchmen. The puzzled military police advance on them usspiciously - Realizing he's outnumbered, Lao instructs his men to stay back and to put away their weapons.", "EXT. THE AIRPLANE Willie and Short Round charge up the ladder and onto the plane. Indy pauses at the top of the steps to give Lao a cocky farewell salute. Indy boards the plane and the co - pilot slams the door.", "EXT. THE AIRFIELD The plane starts taxiing. By the cars, Lao is buffeted by the prop wash as he angrily watches the plane roll away. Behind Lao, his son, Kao Kan, stares at the plane taking off - a look on Kao Kan's face indicates that he has n't given up yet. The plane lifts off the airfield, silhouetted against the clouds and the first light of dawn.", "EXT. THE DKY - MORNING The sun flashes above the horizon and the plane banks through white billowing clouds at it heads west.", "INT. THE PLANE A door opens at the rear of the plane and Indiana Jones exits wearing more familiar attire : a beat - up leather jacket over a khaki shirt and a snap - brim hat. He passes a dozen passengers as he moves up the aisle carrying his rolled - up tuzedo. In the first row, Willie is busy fixing her make - up. Shorty sits in the seat across the aisle from her. Indy comes up and drops his tuxedo onto the floor. Willie sees him hook his coiled bullwhip over a coat - peg. WILLIE So, what're you supposed to be, a lion tamer? INDIANA Since I was nice enough to let you tag along, why do n't you give your mouth a rest? Okay, doll? Indy pats her leg - she removes his hand and reaches down and picks up his tuxedo coat. She slips it on. WILLIE I'm freezing. What do you mean, tag along? From the minute you walked into that nightclub, you have n't been able to keep your eyes off me. INDIANA Oh yeah? He smiles and tips his hat down over his eyes to go to sleep.", "INT. THE COCKPIT At the same moment, the Chinese co - pilot tips his hat up off his eyes - and looks scared to death! He exclaims in Chinese - CO-PILOT -LRB- * subtitled *. -RRB- Good lord! He and the pilot see two biplanes materialize out of the clouds and dive directly toward them! Suddenly, machine gunfire erupts! PILOT -LRB- * subtitled. -RRB- Dive for the clouds! Dive!", "EXT. THE SKY - DAY The DC - 3 banks into the clouds as the two biplanes attack. In the back seat of the first biplane, we see Kao Kan watching the DC - 3 like a hawk about to bring down a sparrow.", "INT. THE COCKPIT The biplanes swoop past both sides of the plane and bursts of gunfire rip along the fuselage. CO-PILOT -LRB- * subtitled. -RRB- They hit a fuel line! PILOT -LRB- * subtitled *. -RRB- Reduce speed - get everyone out of the plane!", "INT. THE PASSENGER CABIN As the air battle rages, the passengers are tossed about and some start screaming. Short Round peers out a window. SHORT ROUND Lao send planes to kill Indy! Willie shakes Indy's arm but he continues snoring under his hat. WILLIE Wake up! It's the drug he drank to stop the poison - The cockpit door bursts open and the Chinese co - pilot exits to make an announcement - he smiles and speaks in CHINESE, then he smiles and speaks in FRENCH - Willie looks lost until the Chinese co - pilot smiles again and speaks in ENGLISH - CO-PILOT Please to remain calm. We start passing out parachutes now - The co - pilot hurries toward the rear. Willie looks petrified as a stewardess rushes up and hands her a parachute. WILLIE You got to be kidding! No! No, I ca n't! The pilot hurries out of the cockpit and grabs his parachute as he heads toward the back. WILLIE -LRB- Cont'd. -RRB- Wait - who's flying the plane?! She opens the door to the cockpit - WILLIE -LRB- Cont'd. -RRB- Nobody's flying the plane.", "EXT. THE SKY - DAY The DC - 3 smokes through the clouds. Passengers are bailing out - parachutes billowing. As one of the fighters swoops through the parachutes, Kao Kan searches the faces - then he points at the DC - 3. KAO KAN -LRB- into the radio. -RRB- Jones! Indiana Jones! The two planes roar off and start strafing the DC - 3 again.", "INT. THE PASSENGER CABIN The co - pilot has a parachute on and is trying to get Short Round into one. CO-PILOT Put it on! What's wrong with you? You've got to jump! SHORT ROUND No, ca n't leave Indy! Short Round suddenly butts the co - pilot in the stomach with his head. The co - pilot yells and falls out the door. Short Round sees the co - pilot's parachute billow. Then Willie rushes up. WILLIE Give me that parachute, I changed my mind - She grabs the parachute and starts to fight Shorty over it - SHORT ROUND No, this last one! It's for Indy! They scuffle until the parachute skids across the floor. Short Round jumps for it - the parachute falls out the door and Short Round starts to fall out after it! Willie grabs him by the seat of his pants and hauls him back from the abyss!", "EXT. THE SKY - DAY The fighters peel off toward the DC - 3 with their guns flaming in another attack.", "INT. THE PASSENGER CABIN Short Round tries to wake Indy again. Finally, Shorty grabs Indy's bag, pulls his holster out of it and runs toward the back. Indy continues to sleep - until bullets smash the window by his head and a fire extinguisher is hit and starts spraying into Indy's face. He finally awakens and jumps up. He looks around is disbelief at the battle - torn, nearly - empty airplane. INDIANA -LRB- groggily. -RRB- We there yet? Indiana sees Shorty shooting his pistol out the side door as the planes swoop by again. Out of ammo, Shorty throws the gun angrily at the passing plane. Indiana picks up his whip and attaches it to his belt as Willie runs over to him. WILLIE There's nobody flying the plane!", "INT. THE COCKPIT The door flies open and Indy rushes in with Willie behind him. Indy appraises the situation quickly and jumps into the pilot's seat with total confidence - WILLIE -LRB- Cont'd. -RRB- You know how to fly? Indy surveys the control panels, the myraid of dials and switches - INDIANA No. -LRB- hopefully. -RRB- Do you?", "INT. THE PASSENGER CABIN Willie runs screaming out of the cockpit, her last hope shatter - ed. Shorty is pulling something out of the cargo compartment - he's found a machine gun and sets it up on a short tripod. SHORT ROUND Come here, lady, hold this and shut up please! He pulls Willie down to the floor and shoves her the ammunition belt that's draped toward the gun. Then Shorty jumps behind the machine gun - As the first fighter appears off their side, Short Round blasts out the open door! The machine gun explodes to life, chewing bullets, smoking and spitting shells at Willie - Willie hollers terrified by manages to feed the ammo belt as Short Round sights the blazing machine gun - suddenly he shoops! Willie sees the fighter hit - it smokes and veers away - and then EXPLODES! SHORT ROUND I get it! WILLIE You got it! The second plane swoops down and Short Round blasts away. This time as he swivels the gun, he misses and hits one of the DC - 3's own engines and it explodes! SHORT ROUND Oh oh - big mistake!", "INT. THE COCKPIT Trying to figure out the controls, Indy looks up to see their en - gine explose into flames - INDIANA -LRB- angrily. -RRB- Short Round, what in the hell are you doing? Suddenly the DC - 3 emerges out of a cloud and Indy sees they are headed directly for a mountain! He pulls back hard on the con - trols as a rocky peak looms lethally in front of them.", "EXT. THE SKY - DAY The DC - 3 lifts at the last second and smashes some snow off the uppermost pinnacle as it clears the mountain by inches! Kao Kan's fighter is glued to the DC - 3's tail and continues to strafe - but the fighter pilot pulls up too late - and the fighter explodes as it hits the peak of the mountain!", "INT. THE PASSENGER CABIN Indy rushes out of the smoking cockpit to find Willie and Short Round crawling out from under the debris that's fallen on them. Then Indy spots something in the wreckage - He pulls at some yellow canvas and Willie sees as sign : EMERGENCY LIFE RAFT. Indy drags the folded canvas over to the open door. WILLIE Are you crazy, a lift raft?! We're not sinking, we're crashing! INDIANA Get over here, damn it! Short Round, come on, grab onto me tight! Willie sees Short Round rush over to Indiana and grab him around the waist from behind. Willie finally jumps up and runs over - WILLIE Wait for me! She throws her arms around Indy's neck so that she and Shorty are both hugging him from behind. Indy clutches the folded lift raft in front of him and surveys the mountainside rushing close be - neath the skinking airplane - Finally, an instant before the plane will hit, Indy dives and pulls the inflation cord!", "EXT. THE SKY As the smoking DC - 3 screams out of control toward the mountain, skimming the rocky snow - covered slopes, we see the lift raft spilling out the open door - The raft pops into its full shape, acting now as a spoiler, soar - ing against the rushing wind and finally crashing and bouncing against the snowy mountainside. In the distance, we see the DC - 3 finally kiss the earth and ex - plode in a cloud of flame against a rocky escarpment - metal and earth mushrooming in a million directions!", "EXT. THE MOUNTAINSIDE As the raft rockets down the snow, Indiana clutches the front and Willie and Short Round hold on for dear life on either side of him. The raft plummets down the mountain, crossing the timber - line and entering a forest. Bouncing over a snow - hidden log, the raft shoots directly for a tree - Indiana pulls on the perimeter rope, rolls on his side and man - ages to swerve the raft so it caroms offthe snow - drifted side of the tree trunk. Continuing its downhill run, the raft smashes across a small steam, sending silvery water spraying. As the raft skids below the snow - level, it starts bouncing over rocky ground and its three passengers' teeth start chattering.", "EXT. A BLUFF The yellow raft crashes through a tangle of bushes and then plum - mets toward a bluff! The raft goes airborne over a small bluff and lands with a splash in a slow - moving river.", "EXT. THE RIVER The life raft drifts down the river and Indy looks around and smiles cockily at Willie and Short Round - Their faces do n't show gratitude, but horror - Indy hears some - thing and turns to see :", "EXT. WHITE WATER RAPIDS The raft is heading directly toward a surging stretch of treach - erous rapids. Indiana looks less cocky as he and Willie and Short Round hold on again for dear life! The raft plunges into the roaring torrent, bouncing over rock - swollen waves, twisting and spinning through narrow gaps. The three helpless passengers are drenched in the thundering cascades of white water. Willie is hallering, Short Round hangs on wide - eyed and even Indy looks terrified as the raft crashes down the rapids. Finally, after one heart - stopping bounce, the raft seems to slow.", "EXT. RIVER CLEARING The raft drifts out of the main part of the river and glides to - ward a clearing. Its three soaked and bedraggled passengers lie motionless in the bottom. Indy's hand drags alongside the raft, his fingers leaving a trail in the almost still water. Battered and exhausted, but always Indy's `` bodyguard'', Shorty looks over at him worriedly - SHORT ROUND Indy? INDIANA Okay, Shorty. Indy looks over at Willie who is moaning. INDIANA -LRB- Cont'd. -RRB- You all right? WILLIE No. I'm not cut out for the kind of life you lead. -LRB- moaning. -RRB- Oh no. I ripped my dress. Where are we anyway? The raft floats to a gentle stop - we see it nudge against a pair of dark feet. Indy squints up into the sun and sees some - thing. INDIANA India. WILLIE Holy cow - India? How do you know we're in - She rolls over and yelps as she looks up at the bizarre, painted face of a SHAMAN. Silhoutted against the blazing sun, the skin - ny little old man in a loincoloth stares down at them in the raft. An eerie wind rises and howls. The old man places his palms to - gether and moves his hands up to touch his forehead. Willie and Short Round watch mystified as Indiana returns the old shaman's silent greeting.", "EXT. THE MAYAPORE HILLS - DAY Indya and Short Round follow the shaman and four peasants down a gutted path through barren rolling hills. Willie is out of her milieu, stumbling along this forlorn landscape in high heels, tuxedo jacket and disheveled lame gown. She hears the old shaman talking to Indy and catches up with them to find out what's going on. WILLIE -LRB- to Indiana. -RRB- What'd he say? INDIANA He told me they knew I was coming here. WILLIE What do you mean - how? INDIANA The old man saw it in a dream. WILLIE Dream - nightmare is more like it. INDIANA He said that's whey they were at river - they were waiting for the plane to fall down. He looks at her bewildered face and smiles faintly. As they walk, a hot wind swirls dust around them, a wind slowly ravaging what soil is left in this terribly blighted region.", "EXT. MAYAPORE - DAY At the base of the hills, Mayapore village does nothing to re - lieve the awful sense of devastation. A desolate road runs through the village, along which groups of ptiifully poor vil - lagers stare at the strangers being brought in. Hopeless women lift buckets from a dry well - finding only sand. Skinny miserable dogs skulk between the decrepit village huts, eyed by the patient vultures lurling in scraggly trees. Indiana notices the wretched peasants staring at Short Round, some of them pointing at him, a few haggard women shedding tears down their wrinkled faces as the little Chinese boy passes. There is no sign of children in the village and Short Round grows frightened by the odd attention. He moves closer to Indy as they pass the devastated population. RXT. MAYAPORE VILLAGE - AFTER SUNSET Black clouds clot across the blood - red sky as darkness falls. Indiana, Willie and Short Round sit tensely on a shabby rug. Above their heads, there is a thatched roof, but there are no walls. The dying sunset silhouettes them and the half - dozen elders seat - ed in the dirt around them. A grey - haired man, the village CHIEFTAIN, gives quiet commands to the women who scuttle in and set wooden plates in front of the three visitors. No plates are places in front of the elders. WILLIE -LRB- quietly to Indy. -RRB- I hope this means we're going to get some dinner. Indiana sees the painted shaman, who sits next to the chieftain, watching Willie. The women bring in a bowl from which they scoop tiny portions of grey gruel onto three plates. To this the women add a few grains of yellowed rice and a with - ered, molding piece of fruit. Willie looks aghast at the unappe - tizing combination. WILLIE -LRB- quietly. -RRB- God, I am starving, but I ca n't eat this. INDIANA That's more food than these people eat in a week. -LRB- pointedly. -RRB- They're starving, too. Willie looks around at the emaciated faces and feels like crawl - ing into a hole. WILLIE I'm sorry, I - here, please. She picks up her plate and gently hands it back to the women. The chieftain finally speaks to them - CHIEFTAIN You will rest here before you go on. INDIANA We'd appreciate that. This was an unexpected detour. We'll have to go to Delhi now and find a flight west. SHORT ROUND -LRB- smiling. -RRB- Indy is taking me to America. All eyes are on Short Round. Puzzled by this strange attention, Shorty's smile fades nervously. INDIANA I'm a professor. I have to re - turn to the university. Can you give us a guide to take us to Delhi? The chieftain indicates a young villager sitting near them. CHIEFTAIN Sanju will guide you. INDIANA Thank you. The old shaman speaks now for the first time. SHAMAN On the way to Delhi, you will stop at Pankot. INDIANA -LRB- puzzled. -RRB- Pankot is n't on the way to Delhi. SHAMAN You will go to palace there. INDIANA Has n't the Pankot palace been de - serted since the Mutiny of 1857? SHAMAN -LRB- darkly. -RRB- No. Now there is new Maharajah - and palace is powerful again. The shaman looks around at his unfortunate people. SHAMAN -LRB- Cont'd. -RRB- It is Pankot Palace that kills my village. INDIANA I do n't understand. What's hap - pened here? SHAMAN The evil starts in Pankot. Then like monsoon, it moves darkness over all country. INDIANA What evil? SHAMAN They came from Palace and took sivalinga from out village. Willie looks over at Indiana - WILLIE Took what? INDIANA It's a sacred stone in a shine that's supposed to protect a village. SHAMAN It is why Krishna brought you here. INDIANA -LRB- politely firm. -RRB- Nobody brought us here. Our plane crashed. We were shot down by - SHAMAN -LRB- interrupting. -RRB- No. We pray to Krishna to help us find the stone. It was Krishna who made you fall from sky - so you can got to Pankot Palace. To find siva - linga - and bring back to us. Indy's about to object - then he looks at the sad chieftain, the elders and peasants who are watching him helplessly. And he sees again the dark steady eyes of the old shaman.", "EXT. MAYAPORE VILLAGE - NIGHT Torches falre eerily and dogs howl as the peasants accompany the shaman, elders and three visitors out ot the edge of the dark village. Short Round walks beside Indy. SHORT ROUND Indy, they make out plane crash? To get you here? INDIANA It's just superstition, Shorty. Like a ghost story. Short Round looks plenty scared as they all stop walking. The shaman motions and the men with torches circle around a pile of rocks to illuminate them. The shaman makes a gesture of devotion to the primitive shrine and Indy speaks to the village chieftain. CHIEFTAIN Yes. Indiana seems skeptical as he kneels to study the shrine. On top of the pile of rocks, there is a carved niche. The niche is empty but an indentation indicates the conical shape of the stone that was stolen. INDIANA Was the stone very smooth? -LRB- he sees the chieftain nod. -RRB- It was probably brought here from a sacred river. SHAMAN -LRB- joining Indy and the chieftain. -RRB- Long ago - before my father's father. INDIANA And it had three lines painted across it? -LRB- seeing the shaman nod. -RRB- The lines represent the three levels of the universe. I've seen stones like the one you lost. Indy stands slowly. Willie is beside him looking at the shrine. WILLIE I do n't understand how losing one rock could destroy this village. -LRB- whispering to Indy. -RRB- Is it really powerful? Indy gives a doubtful smile. He turns again to the old shaman. INDIANA But why would the Maharajah take this sacred stone? SHAMAN They say we must pray to their evil god. We say we will not. The old shaman looks off and fights the tears in his eyes as he starts speaking in Hindi. INDIANA -LRB- translating. -RRB- He says that when the sacred stone was taken the village wells dried up first and then the river stopped. Indy turns and asks the shaman a question in Hindi. The shaman answers in Hindi. INDIANA -LRB- translating. -RRB- He says their crops dies and then the animals died. The shaman walks to the edge of the torchlight and looks out into the darkness as he continues speaking emotionally in Hindi - INDIANA -LRB- translating. -RRB- And then they took their children. WILLIE Their children? She looks at Short Round and finally understands the sorrowful faces always watching him. Indy asks another question in Hindi and the shaman continues his story - INDIANA -LRB- translating. -RRB- He says one night there was a fire in the fields. The men went to fight it. When they came back, they heard the women crying in the darkness. And the children were gone. The shaman walks slowly toward Indiana. SHAMAN You will find them when you find sivlalinga. INDIANA I'm sorry, I do n't know how I can help you here. The shaman and the chieftain stare and Indiana, refusing to accept that. INDIANA -LRB- Cont'd. -RRB- The English authorities who con - trol this area are the only ones who can help you. CHIEFTAIN They do not listen. INDIANA I have friends in Delhi and I will make sure they investigate this. SHAMAN No, you will got to Pankot. The old man speaks again in his own tongue and Indy looks dis - turbed. WILLIE What'd he say now? INDIANA It was destined that I came here - and the future can not be changed. Indy looks ath the shaman and the torchlight reflected in his eyes.", "EXT. MAYAPORE - NIGHT Suddenly we're rushing headlong down a dark dirt path seen from the POV of somebody running in terror. We hear heavy breathing - above we see the scraggly trees blowing against the full moon as an eerie wind rises and howls. We continue crashing through the dying fields tward the dark village.", "INT. INDIANA'S HUT - NIGHT The wind swirls into the hut and Indiana's eyes open. He lies still a moment and then sits up slowly. He sees Short Round sleeping nearby. Sensing something strange, Indy gets to his feet. He steps around Short Round and goes to the door of the hut.", "EXT. THE HUT - NIGHT Indy walks against the rising wind and looks around. The village is asleep and seems deserted. Then he turns and sees something. We follow small bare feet stumbling through the dust. Indy sees an emaciated child in rag running out of the darkness. Indiana moves forward and the child runs toward him. Indy grabs the little boy as he falls into his arms.", "INT. THE SHAMAN'S HUT - NIGHT A few minutes later, the little boy is lying unconscious on a blanket. Elders crouch around him. Indy is kneeling and watches the shaman wet the boy's forehead with a rag and drip water onto his lips. The little boy's eyes open and he begins to revive. Shrot Round And Willie watch from a corner as the little boy looks at all the faces peering down at him. The little boy's arm moves and he reaches out to Indy rather than any of the others. Indy takes his small hand and sees that the boy's fingers are cut and bruised - his fingers open and drop something into Indy's hand. The little boy tries to whisper. Indy has to lean close to hear as the little boy's lips move again - LITTLE BOY Sankara. A mother rushes into the hut now and kneels and hugs her little boy. His skinny arms go around her as they are reunited. Indy stands slowly and looks at what the little boy gave him - It is a small tattered piece of cloth : an old fragment of a mini - ature painting. Indiana looks at it with an expression of recog - nition and apprehension. INDIANA Sankara.", "EXT. THE VILLAGE - MORNING The camera follows Indiana - he's walking fast and determinded - ly. Villagers trot alongside of him, trying to keep up with is pace as he questions thm in Hindi. Indy approaches two large elephants and sees their guide Sajnu trying to politely drag Willie toward one of them. INDIANA Damn it, Willie, get on - we've got to move out! Willie's head comes up over the back of the elephant as she's helped from below - there is a look of sheer terror on her face. WILLIE Whoa! Easy now - nice elephant. Waiting by the second elephant, Short Round sees Indy coming and runs up to him - SHORT ROUND I ride with you, Indy? INDIANA Nope, you got a little surprise over there, Shorty. Short Round runs around the big elephant and sees a baby elephant being brought out. He ca n't believe his luck - SHORT ROUND Oh boy! Meanwhile Sajnu goads Willie's elephant over. The villagers look grief stricken and many are crying as they watch the three stran - gers' departure. WILLIE -LRB- to Short Round. -RRB- This is the first time anybody ever cried when I left. SHORT ROUND They do n't cry about you. They cry about the elephants leaving. WILLIE Figures. SHORT ROUND They got no food to feed them. So they taking the elephants away to sell them. Indy lumbers over on his elephant. INDIANA All right, let's go. I want to get to Pankot before tomorrow night. She looks at Indiana as he rides past. WILLIE Pankot?! I thought we were going to Delhi! Hey, wait a minute! -LRB- looking at the villagers. -RRB- Ca n't somebody take me to Delhi?! I do n't want to go to Pankot! Sajnu guides her elephant and Willie lurches forward - WILLIE -LRB- Cont'd. -RRB- -LRB- yelling. -RRB- Indiana! Damn it! Why'd you change your mind? What did that kid tell you last night?! Indy ignores her hollering. The elephants move off through the crowds of pitiful villagers. Indy sees the elders, chieftain and the old shaman who brings his hands up to his forehead as Indy rides past.", "EXT. THE COUNTRYSIDE - DAY The elephants move across the desolate countryside toward the distant hills.", "EXT. THE TRAIL Indiana rides the lead elephant. Sajnu passes on foot guiding Willie's elephant. With the tuxedo jacket wrapped around her waist, Willie is dabbing perfume behind her ears. WILLIE -LRB- to her elephant. -RRB- I think you need this more than me. Willie leans forward and puts perfume behind the elephant's ears. Grimacing at the animal's smell she simply dumps the rest of the perfume on the elephant's back. Willie yelps when the elephant's trunk comes back, sniffs the foriegn fragrance and suddenly trumpets in disgust. WILLIE -LRB- Cont'd. -RRB- What're you complaining about, this is expensive stuff!", "EXT. LOWER JUNGLES - DAY From a cliff, we see the elephants below passing into the lower jungles. Spotting something on an overhanging tree branck, Short Round stands up precariously on the baby elephant's back. He pulls a vine from the tree as they pass under it. Plopping down onto the baby elephant's back, he picks the wild fruit from the vine - SHORT ROUND Here you go, lunch time! The baby elephant's trunk comes back and takes the fruit. Shorty looks up in the sky. SHORT ROUND -LRB- Cont'd. -RRB- Indy, look! Indiana and Willie look up and see hundreds of enormous winged creatures flapping across the afternoon sky. WILLIE Those are very big bird. Sajnu says something and Indiana nods. INDIANA Those are n't birds - those are giant bats. Willie shudders as she watches the bats.", "EXT. THE HILLS - AFTERNOON An enormous sun silhouettes the three elephants trekking west - ward.", "EXT. A RIVER - LATER AFTERNOON The three elephants stand sucking up river water with their trunks. Seated on the huge beasts, Willie, Short Round and Indi - ana watch the thirsty animals. WILLIE They must be pretty dumb to drink that awful - looking water. In response, Willie's elephant calmly lifts its trunk and sprays her in the face. Short Round and Indy laugh as Willie sits soaked and shocked. INDIANA I think maybe we'll camp here.", "EXT. THE RIVER - SUNSET A plume of water sprays. The three elephants submerge in a deep, wide spot in the river. Indy wades in the current with his shirt off. He and the guide splash water on the weary animals. Short Round laughs and plays with the baby elephant. Wrapped in its trunk, he's swung in the air and lands on the elephant's back. Shorty makes a swan dive back into the water and the baby elephant gives him a shower when he surfaces.", "EXT. UPRIVER Thirty yards upstream, birds and monkeys chatter in a tree. In the shady river beneath, Willie surfaces cooly and wipes hair from her eyes. She hums contendedly. Indiana wanders up the riverbank in his dripping trousers. He notices Willie's wet clothes spread over a tree limb hanging low over the water and then he sees Willie paddling around. INDIANA Hey, Willie - I think you better get out now. WILLIE Stark naked? You wish. If you're trying to seduce me, Dr. Jones, this is a very primitive approach. INDIANA Me seduce you? Honey, you're the one who took your clothes off. -LRB- shrugging. -RRB- I just came over to remind you that you never know what else might be in the water. WILLIE Somehow I feel safer in here. As Indy turns and starts off, Willie reaches up to the tree branch above her head and grabs her underwear. At this moment we notice something awful : A BOA CONSTRICTOR is moving out along the branch, the enormous snake slithering over Willie's clothes. Willie watches Indiana walk away as she reaches up for her dress - her hands feel something strange - not the dress and not the tree limb - Willie looks up and sees that she's pulling on a snake! She SCREAMS as the boa constrictor falls off the t - ee on top of her! Indy hears the scream and hears Willie calling to him. He runs back toward the river. Stopping on the riverbank, he sees Willie backing away in the water - Indiana's already starting to pull his boots off - WILLIE Indy! Help me! INDIANA Do n't worry, I'm coming in! What is it? WILLIE A snake! Suddenly Indiana freezes and a strange look corsses his face - INDIANA A what? WILLIE A SNAKE! He finally sees the boa constrictor thrashing in the water close to Willie. He leaves his boots on. WILLIE -LRB- Cont'd. -RRB- Hurry, help me out of here! What're you waiting for?! INDIANA Uh, listen - Willie - I got a better idea. WILLIE What?! INDIANA First of all - do n't panic! Willie suddenly screams as the boa constrictor wraps around her arm - WILLIE It's got me! Indy, help me! Indy runs along the riverbank, trying to get closer to her, but not about to jump into the river -LRB- due to his aversion to snakes - see Episode One : `` Raiders of the Lost Ark'' -RRB-. INDIANA Do n't let it pull you deeper! WILLIE It's pulling me deeper! INDIANA Do n't let it curl around you! WILLIE It's curling around me! Damn it, stop talking and do something! The snake is wrapping around her body and neck - her head is barely above water - On the riverbank, Indy reaches down and grabs a piece of wood. But as he watches the repulsive reptile, he starts to sweat and his fear and loathing overpower him - WILLIE -LRB- Cont'd. -RRB- What's wrong?! Indy please help me! Indy groans and bolsters his courage - he takes two steps into the water - but the complex is to strong and he ca n't go any further. He drops the piece of wood. INDIANA Listen, Willie. Do exactly what I tell you now. WILLIE What?! INDIANA Can you move your arm? WILLIE Just one arm! INDIANA Okay, I want you to lift your hand - and pet the snake. WILLIE PET IT?! INDIANA Yes, stroke it right along the maxillary and precaudal verte - brae. WILLIE THE WHAT?! INDIANA Pet it on the head! Go on, pet it! In the water, Willie is whimpering as she lifts her hand and starts petting the snake coiling around her pale body. WILLIE Oh - my - god - it's going to crush me! INDIANA Keep stroking it! Willie keeps rubbing her hand along the snakes head and back and it slowly stops thrashing in the water. INDIANA -LRB- Cont'd. -RRB- What's happening? WILLIE It's starting to let go! INDIANA That's good - you're doing fine. Grimacing as she stares at the ugly serpent's head, Willie keeps stroking it. WILLIE It's letting fo. I think it's - I think it's going to sleep! Indiana looks relieved. He sees the snake starting to drift away from Willie and she starts paddling back to shore, collecting her floating clothes along the way. Holding her dripping dress against herself, she walks out of the water toward Indy who smiles at her weakly. INDIANA See - I got you out. She slows and hauls off and punches him in the mouth. Indy holds his jaw as she walks away infuriates. WILLIE Thanks for nothing! I hate snakes! INDIANA -LRB- looking at the water. -RRB- I know the feeling.", "EXT. THE CAMPSITE - NIGHT By firelight, we see Sajnu feeding the big elephants while Short Round feeds and talks to the baby elephant - SHORT ROUND You come to America with me, and we can get job in the circus - you like that? The baby elephant trumpets affirmitively. A ways off, Willie stands wrapped in a blanket watching Shorty and the elephant as she dries her hair by a campfire. Now Indy comes up and drops an armload of wood for yet another fire. WILLIE Where'd you find your little body - guard? INDIANA I met Short Round when he tried to pick my pocket. Indiana kneels and arranges the wood. INDIANA -LRB- Cont'd. -RRB- Shorty's family was killed when they bombed Shanghai. He was living on the streets. WILLIE -LRB- smiling. -RRB- He'll be okay. He's a good kid. Indy strikes a match and lights the new fire. WILLIE -LRB- Cont'd. -RRB- All these fires - you expecting more snakes, Dr. Jones? She smiles snidely and continues drying her hair. INDIANA By the way, how'd you end up in Shanghai? WILLIE Well, when my nightclub career was run over by the Depression, some pinhead convinced me that `` a girl could go places in the Orient.'' So, look where I got. Indy picks up a blanket and spreads it on the ground. INDIANA What about the future? WILLIE Oh, that's easy - I'm going to latch onto a good - looking, in - credibly rich prince. Indy lies down on the blanket. INDIANA I'd like to find one of those myself. WILLIE -LRB- raising an eyebrow. -RRB- Oh really? INDIANA Yeah, but he's got to be dead and buried for a couple of thousand years. -LRB- smiling. -RRB- Fortune and glory. WILLIE Is that what you're hoping to find at this palace, Dr. Jones? INDIANA Maybe. Indy reaches into his pocket and removes the old piece of cloth. WILLIE What's that? She walks over to where he's lying down and sits on a boulder. He hands her the cloth and she looks at it by the firelight. INDIANA Something that kid gave me last night. It's a piece of an old manuscript. Willie sees a crude drawing in reds, blue and gold. INDIANA -LRB- Cont'd. -RRB- The drawing shows a priest named Sankara who lived centuries ago. WILLIE What does the writing say? INDIANA It's Sanskrit. It tells the story of Sankara climbing Mt. Kalisa where he met the Hindu god Shiva. WILLIE -LRB- examining it. -RRB- That's Shiva? What's he giving the Priest? INDIANA Legend says he told Sankara to go forth and combat evil. To do that he gave him five sacred stones that had magical powers. WILLIE -LRB- looking at Indy. -RRB- You mean magical like the rock that was stolen from that village? Indy looks at her meaningfully. INDIANA It could be. Willie seems frightened. She hands him the piece of cloth and stands up. WILLIE -LRB- quietly. -RRB- Fortune and glory. sweet dreams, Dr. Jones. She picks up a blanket and starts off. INDIANA I think you should sleep closer. -LRB- seeing her sus - picious look. -RRB- I meant for safety. WILLIE -LRB- smiling. -RRB- I'd be safer sleeping with that snake. She steps over to a tree by the fire where her clothes are dry - ing. Indy watches her pull her dried clothes from the lower branches. She reaches up to remove another piece of her clothing - it's stuck to the tree and she looks up and yanks it. Suddenly the piece of clothing moves! Two enormous winds open and the hideous face of a GIANT BAT screeches and hisses at Willie! She screams hysterically as the bat flaps against her, biting and scratching at her before it fi - nally takes off. The bat flies off into the darkness and Indy chuckles as he watches Willie shanking as she backs slowly toward the fire - WILLIE Did you see it?! It was one of those bats! -LRB- staring into the darkness. -RRB- God, what else is out there?! She quickly picks up her blanket and lays it out very close to Indy. INDIANA Could n't keep away, huh? WILLIE Just try and control yourself. Indiana watches her lie down and wrap herself in her blanket. then he rolls over and tips his hat down over his eyes to get some well - deserved shut - eye. In a moment, however, we see something grotesque and snake - like slide into frame and move towards Indy - finally, we realize it's an elephant's trunk. The trunk nudges Indy's shoulder. INDIANA -LRB- without looking. -RRB- Still scared? Okay, Willie, you can get closer if you want. The elephant's trunk moves closer and nuzzles Indy's neck. INDIANA Honey, I knew you'd be the first one to give in. Now, we see that Short Round is guiding the baby elephant's trunk with a prod. Willie watches, stifling a laugh as the elephant's trunk sniffs Indiana's ear - INDIANA -LRB- Cont'd. -RRB- You're going to start something I'm going to have to finish. -LRB- moaning. -RRB- Okay, doll, you asked for it. Indiana rolls over, lifts his hat and hollers! He nearly jumps out of his pants as he stares into the elephant's trunk. Willie and Short Round dissolve into laughter.", "EXT. THE JUNGLE - DAY Tall, vine - covered trees sway in the wind. Beneath them, the el - ephants plough through the dense tropical forest. The sounds of the teeming jungle multiply as Short Round surveys the distant hills. SHORT ROUND Indy, look! INDIANA That's it. Pankot Palace. Willie looks off at the resplendent while Moghul - style palace ri - sing in the distance above the jungle.", "EXT. A JUNGLE CLEARING - LATER Their Mayapore guide walks toward the camera and suddenly looks frightened. He barks commands and the elephants stop. Indiana jumps down an joins the fearful guide. They stare at a small statue of a malevolent goddess with eight arms. Around the goddess's neck, a carved necklace displays small human heads - her eight hands hold other heads by their hair. Indiana moves closer to the statue as the terrified guide backs away. Indy is fascinated by the ritual objects adorning it : leaves, dead birds, rodents and turtles. Indiana grimaces as he lifts a necklace of real pierced human fingers. WILLIE -LRB- O.S. -RRB- Why are we stopping here? Indiana goes back and joins the scared, jabbering guide who is helping Willie down from the elephant. Short Round jumps down. SHORT ROUND What you look at, Indy? INDIANA Just a statue. WILLIE What's the guide talking about? He has n't said a word the whole trip. Indy listens to the agitated guide and then speaks a few words in Hindi back to him. They watch the distressed guide trun the ele - phants and start away with them as fast as possible. WILLIE He's afraid of something. INDIANA He said he could n't take us any farther. He has to go sell the elephants. WILLIE You mean we have to walk the rest of the way? Willie moans and follows Indy. Short Round watches the elephants trudging away. The little elephant turns and looks back. Short Round quickly wipes a tear from his face.", "EXT. A PALACE APPROACH - AFTERNOON Indiana and Short Round hike up a rock - paved road beside a high wall. Exhausted, carrying her high heels, Willie trudges along behind them. WILLIE - shot at, fallen out of a plane, nearly drowned, squashed by a snake, attacked by a bat - I smell like an elephant! -LRB- yelling. -RRB- I tell you I'm not going to make it! Indiana finally stops. He walks back to Willie, suddenly picks her us in his arms and starts carrying her the remaining way. Willie is surprised and puzzled. INDIANA Any more complaints? WILLIE -LRB- smiling faintly. -RRB- Yeah, I wish you'd thought of this sooner. She does n't seem to mind being carried by Indy. He arrives at the entrance to the palace and puts her down - she stands close to him and he gently smoothes the collar of her dress. INDIANA It does n't feel like there's been any permanent damage. She smiles at him again and then turns around - and whistles as she sees Pankot Palace : a sprawling, monumental mixture of Mo - ghul and Rajput styles, the palace is an extravaganza of Princely architecture.", "EXT. A BRIDGE The three travelers start across a marble bridge toward the main entrance. Lined along the bridge, palace guards stand with lances. As the threesome passes, the first Rajput guard snaps noisily to attention and Willie jumps. As Willie continues across the bridge, the other guards snap to attention in sequence and she grins, enjoying the attention.", "INT. THE OUTER COURTYARD Short Round and Willie follow Indiana through a dark archway into a glittering courtyard. The palace seems deserted and forebod - ing. INDIANA Hello? -LRB- hello? -RRB- -LRB- hello? -RRB- Indy's voice echoes off the marble facades - three enormous Raj - put guards with curved swords in their sashes appear silently at opposite sides of the courtyard. WILLIE -LRB- frightened. -RRB- Hi. -LRB- hi. -RRB- -LRB- hi. -RRB-. Then, a tall severe - looking Indian in an English suit material - izes out of the shadows and comes forward slowly. CHATTAR LAL appraises the intruders suspiciously : He sees a whoozy beauty in a weary evening gown ; a dirty Chinese kid with a baseball cap ; a rugged - looking American carrying a bullwhip. CHATTAR LAL I would say you look rather lost. -LRB- disdainfullt. -RRB- But then I can not imagine where in the world the three of you would look at home. INDIANA -LRB- smiling evenly. -RRB- Lost? No, we're not lost. We're on our way to Delhi. This is Miss Scott - and Mr. Round. My name's Indiana Jones. CHATTAR LAL -LRB- surprised. -RRB- Dr. Jones? The eminent archae - ologist? WILLIE Hard to believe, is n't it? CHATTAR LAL I remember first hearing your name when I was studying at Oxford. I Am Chattar Lal, Prime Minister for His Highness the Maharajah of Pankot. He bows and Willie sort of curtsies. CHATTAR LAL -LRB- Cont'd. -RRB- Welcome to Pankot Palace.", "INT. PANKOT PALACE - AFTERNOON They walk along the marble halls, past dazzling walls inlaid with pieces of mirror and semi - precious stones. Fountains spray in ivory countyards and they gaze in awe at the ornate splendour. As Willie walks with Shorty she appraises the chronolgoical portraits of the Pankot Prices that line the hall. Dissipated faces, elegant faces, evil faces - she reacts to them. WILLIE -LRB- to Short Round. -RRB- How'd you like to run into him in a dark alley. that one's kind of cute. I could see myself married to a prince like that. Ahead of them Chattar Lal walks with Indy and questions him suspiciously - CHATTAR LAL The plane crash and your journey here sound - most incredible. WILLIE You should have been there. INDIANA We'd appreciate it if the Mahara - jah would let us stay tonight. We'll be on out way in the morn - ing. CHATTAR LAL I am only his humble servant, but the Maharajah usually listens to my advice. WILLIE Is that him? They've come to the last in the row of Princes portraits. Wil - lie stops and looks up disappointedly at a picture of an aged, immensely corpulent Rajput prince. WILLIE -LRB- Cont'd. -RRB- -LRB- politely. -RRB- He's not exactly what we call `` a spring chicken''. CHATTAR LAL No, no, that is Uhmed Singh, the present Maharajah's late father. WILLIE Oh - good. And maybe the pres - ent Marahajah is a little younger? And thinner? Two female servants approach silently and bow. CHATTAR LAL They will escort you to your rooms now. You will be provided with fresh clothes. Tonight you will be dining with His Highness. WILLIE Dinner? And with a prince?! My luck is changing. But look at me - my god, I've to to get ready! She hurried off with one of the servants toward her room. Chat - tar Lal smiles cooly at Indiana - CHATTAR LAL Eight o'clock in the Pleasure Pavilion.", "EXT. THE PLEASURE PALIVION - NIGHT An extraordinary gold dome rises in the middle of the eleaborate gardens. The Pleasure Pavilion is ablaze with torch lights, flickering candles and exotic music. Indiana comes out of the palace with Short Round. Indy has on a tweed jacket and a nectie - his university professor's outfit. Short Round has been cleaned up, but still sports his baseball cap. Willie joins them, looking stunning is a silk Western - styled gown. She's also been loaned some Moghul jewelry which sparkles on her neck and arms. INDIANA You look like a princess. Willie's flattered by the first nice thing Indy's said to her. WILLIE It's sort of like being in heaven. They cross the garden toward the pavilion and Willie's eyes are like a kid's at Christmas.", "INT. THE PLEASURE PAVILION As they enter, Indiana gives a half - dressed dancing girl the once - over as she spins to the music of drums and `` vinhas''. INDIANA -LRB- smiling. -RRB- I've always had a weakness for folk dancing. WILLIE -LRB- snidely. -RRB- She might get away with that act here, but she'd never make it in a real nightclub. They walk among the rich court ministers and Indian merchants. Chattar Lal approaches with a British cavalry captain in unifrom. CHATTAR LAL We are fortunate tonight to have some many unexpected guests. his is Captain Phillip Blumburtt. Blumburtt bows to Willie and Indiana. CHATTAR LAL -LRB- Cont'd. -RRB- Captain Blumburtt and his troops are here to check up on the `` natives''. CAPT. BLUMBURTT -LRB- politely. -RRB- Just a routine inspection tour. CHATTAR LAL The British worry so about their Emprie - it makes us feel like well - cared - for children. WILLIE Listen, Mr. Lal, what do you call the Maharajah's wife? CHATTAR LAL His Highness has not yet taken a wife. WILLIE -LRB- happily. -RRB- No? Well, I guess he just has n't met the right woman. As Willie chatters on with the Prime Minister, Indiana wanders off. He moves to a wall where bronze statues and strange devo - tional objects are displayed. CAPT. BLUMBURTT -LRB- joining Indy. -RRB- Interested in local curios? INDIANA No. But I am interested in the occult. And this is a krtya. Indiana picks up a small clay figurine and examines it. CAPT. BLUMBURTT -LRB- grimacing. -RRB- Charming. INDIANA It's like the voodoo dolls of West Africa. The kryta represents your enemy - and gives you complete power over him. CAPT. BLUMBURTT That God all that mumbo jumbo rubbish is disappearing. INDIANA You think so? CAPT. BLUMBURTT Of course. Admittedly, it's taken time. Britian's controlled India for almost two hundred eyars now. Indiana smiles at the somewhat pompous bureaucrat. INDIANA You're hanging on better here than you did in America. CAPT. BLUMBURTT -LRB- smiling sourly. -RRB- This is a different situation, Dr. Jones. These people are like children. We have to lead them slowly into the twentieth century. Indiana puts the doll down and looks over at Chattar Lal and Willie. INDIANA The Prime Minister does n't seem that naive. CAPT. BLUMBURTT No, he's a very shrewd old boy. Power behind the throne and all that. He actually runs this whole province. Indy and the Prime Minister exchange distant looks as Willie comes back over to Indiana. She talks to him conspiratorially - WILLIE I think this Maharajah is swim - ming in money. Maybe coming here was n't such a bad idea. Blumburtt finds these Americans quite suspect and seems relieved when he hears a drum. CAPT. BLUMBURTT I believe we're being called to dinner. WILLIE Finally! As the drum beats the assembled guests move toward a long, low table surrounded by colorful pillows. Short Round follows with a little monkey he's found perched on his arm. As everyone stands around the table, Chattar Lal makes an an - nouncement in Hindi and then in English - CHATTAR LAL His Supremem Highness, guardian of Rajput tradition - the Maharajah of Pankot - Zalim Singh. All eyes are on two solid silver doors which open - and through which now walks the MAHARAJAH ZALIM SINGH. Everyone is bowing, including Indiana and Willie, who looks amazed - WILLIE That's the Maharajah - that kid?! INDIANA Maybe he likes older women. Indeed, Zalim Singh is only thirteen. Outfitted in silver and gold brocade, festooned with enormous jewels, the litlle Mahara - jah gazes imperiously at the bowing crowd - and then glares at Short Round. Indy sees Short Round chewing gum, staring antagonistically at the Maharajah. Indy pushes SHort Round into a bowing position. The Maharajah finally sits down on golden pillows. He nods and his guests take their seats. Indiana sees Willie's dreams of queendom have vanished. INDIANA Cheer up, you lost your prince, but dinner's on the way. WILLIE I've never been so hungry in my life. Servants appear with silver platters of steaming food. They place a platter in front of Willie and she stares at it in amaze - ment : It's a whole raosted boar, replete with a decorative arrow pierc - ing its bloated stomach and tiny broiled baby bores placed around it as if they were suckling on their well - cooked mother. WILLIE -LRB- grimacing. -RRB- My god, sort of grusome, is n't it? Seeing the meat being served, Indiana looks across the table at Blumburtt who seems equally puzzled. Meanwhile, the little Maha - rajah whispers to his Prime Minsiter. Then Chattar Lal speaks to the table - CHATTAR LAL His Highness wants me to welcome his visitors. Especially the renowned Dr. Jones from America. Indy bows slightly toward the Maharajah. INDIANA We are honored to be here. Servants put down another platter. Willie stares at an enormous steaming boa constrictor on the platter. With a flash of a knife, a servant slits the huge snake and exposes a mass of squirming, live baby eels inside. WILLIE Suddenly I'm not so hungry. Meanwhile, Indiana is chatting poleitely with the Prime Minister. INDIANA I had a question, Mr. Prime Mini - ster. I was examining some of the Maharajah's artifacts. CHATTAR LAL A very fine collection of very old pieces, do n't you think? INDIANA Yes, very fine. But not all of the pieces look old. Some were carved recently and look like images used by the Thuggees to worship the god - des Kali. At the emntion of the Thuggees, the Indians at the table quiet, as it a taboo has been broken. Chattar Lal glares at Indiana. CHATTAR LAL Dr. Jones, you know very well that the Thuggee cult has been dead for nearly a century. CAPT. BLUMBURTT Of course. The Thuggees were an obscenity that worshipped Kali with human sacrifices. The Brit - ish Army wiped them out about the time of the Mutiny of 1857. Short Round avoids the dinner by feeding it to his little monkey as he listens to the scary conversation. The talk is bad enough, but Willie finds the food unbelievable! A servant leans overher shoulder and places a six - inch long BUG on her plate! Willie whimpers quietly as she watches the fat merchant next to her lift one of the black, shiny baked - beetles - and crack it in two! The man proceeds to enthusiastically suck the gooey innards out. MERCHANT -LRB- looking at Willie. -RRB- But you're not eating! WILLIE -LRB- weakly. -RRB- I uh - had bugs for lunch. Meanwhile, Indiana continues to politely needle Chattar Lal. INDIANA I suppose stories of the Thuggees die hard. CHATTAR LAL There are no stories anymore. INDIANA Well, I do n't know. we came here from a small village and the peas - ants there told us that the Pankot Palace was growing powerful again - becuase of some ancient evil. Indiana smiles and shrugs. CHATTAR LAL -LRB- sneeringly. -RRB- Their stories are just fear and folklore. INDIANA -LRB- cooly. -RRB- Maybe. but how do you explain The Thuggee shrine I saw right below the palace? Indy catches a glance between the little Maharajah and the prime minister, who answers slowly - CHATTAR LAL The local peasants are just as superstitious. You're very ob - servant, Dr. Jones. But you're beginning to worry Capt. Blum - burtt. Blumburtt's phlegmatic attitude has changed to curiosity. CAPT. BLUMBURTT I'm not worried, Prime Minister, just interested. During their conversation, Willie listens to beetles SNAPPING and she watches revolted as the other dinner guests suck the gooey insides out of the bugs. WILLIE -LRB- to Short Round. -RRB- Give me your hat. SHORT ROUND What for? WILLIE I'm going to puke in it. Meanwhile, Indy continues ingenously with Chattar Lal. INDIANA You know the villagers also claimed that this palace stole something from them. CHATTAR LAL Dr. Jones, it our country a guest does not usually insult his host. INDIANA Sorry, I thought we were just talking about folklore. CAPT. BLUMBURTT -LRB- trying to make peace. -RRB- I'm sure it's nothing. Just ru - mors. -LRB- but interested. -RRB- What was it they claimed was stolen? INDIANA Something magical. A sacred rock. CHATTAR LAL -LRB- condescendingly. -RRB- There, you see, Captain. A rock! INDIANA When they lost this rock their fields and animals dies. They also said their children were taken from them. CHATTAR LAL I think that's enough of this nonsense, Dr. Jones. Indiana smiles faintly at Chattar Lal's anger. Across the table, Willie looks pale and motions to the waiter. WILLIE So you have something, you know, simple - like soup or something? The servant goes off and returns with a covered bowl. He uncov - ers it and Willie looks at a soup with a dozen eyeballs floating in it. MERCHANT Looks delicious! WILLIE I wan na go home. Willie whimpers and tears start down her cheeks. INDIANA -LRB- to Chattar Lal. -RRB- I was dubious muself at first. Then something connected - the village's rock and the old legend of the Sankara Stones. CHATTAR LAL -LRB- controlling himself. -RRB- Dr. Jones, we are all vulnerable to vicious rumors. I seem to re - member that in Honduras you were accused of being a grave robber rather than a scientist. INDIANA -LRB- shrugging. -RRB- The newspapers exaggerated the incident CHATTAR LAL And did n't the Sultan of Madagas - car threaten to cut your head off if you ever returned to his coun - try? INDIANA That was a misunderstanding. CHATTAR LAL -LRB- smiling. -RRB- Exactly what we have here, Dr. Jones. MAHARAJAH I have heard the terrible stories of the evil Thuggee cult. When the little Marahajah speaks it surprises everyone and there is silence. MAHARAJAH -LRB- Cont'd. -RRB- I thought the stories were told to frighten children. Later, I learned that the Thuggee cult was once real and did unspeakable things. The Marahajah looks at Indiana. MAHARAJAH -LRB- Cont'd. -RRB- I am ashamed of what happened here so many years ago. We keep these objects - to remind us that this will never again happen in my kingdom! INDIANA -LRB- after a moment. -RRB- I'm sorry if I've offended you. Now, more trays are whisked in by servants. MERCHANT Ah, dessert! Short Round's monkey suddenly screeches and takes off. Willie closed here eyes in dread - but curiosity gets the best of her and she looks - it's worse than she could imagine : Plates full of small, dead monkey heads! -LRB- * Production note : be - cause of his extremely sensitive nature, the director has reque - ted that these monkey heads be simulated -RRB-. The tops of the monkey's skulls have been cut off and sit loose like little covers. Willie watches in utter dismay as the Maha - rajah and his guests remove the skull - tops and start dipping spoons into what's inside - MERCHANT -LRB- Cont'd. -RRB- Chilled monkey brains! Willie keels over, crashing backwards in a dead faint!", "INT. A PALACE HALL - LATER Women servants help a woobly - kneed Willie toward her room.", "EXT. THE PELASURE GARDEN - NIGHT Hundreds of lanters illuminate the garden where after dinner drinks are served, cigars lighted and hookah pipes puffed on. Indiana comes out of the pavilion into the garden with Capt. Blumburtt and they talk quietly. CAPT. BLUMBURTT Rather bizarre menu, wound n't you say? INDIANA Even if they were trying to scare us away, a devout Hindu would never touch meat. -LRB- looking around. -RRB- Makes you wonder what these people are. Now, the little Maharajah comes over with his retinue and he reaches for Indy's whip which Short Round is carrying. MAHARAJAH I have seen this thing. What is it, Dr. Jones? SHORT ROUND Hey, nobody touches Indy's whip! Short Round grabs for it, but Indiana restrains him. INDIANA We're guests here, Shorty. The Maharajah glares are Short Round and five the whip to Indy. MAHARAJAH You will show me how it works please. Indy bows to the little prince and smiles ironically - INDIANA You wish is my command, your Highness. While Short Round watches angrily, Indiana walks across the gar - den and unfurls the whip. Indy sees a servant lighting a candle. Suddenly the whip flies and CRACKS like a pistol shot. The candle disappears! Indiana whirls and CRACKS the whip again, snagging a flower out of a dancing girl's hair. The Maharajah reacts like any kid - he shoops happily. MAHARAJAH That is wonderful! Please teach me how! Short Round sulks as he listens to Indiana instructing the Maha - rajah on how to hold the whip. As the young prince practises the grip, Indy notices Chattar Lal slip behind a fountain to talk to a dark figure in robes who appears. Indiana sees Chattar Lal bow to the dark figure - and Indy catches a glimpse of the stranger's pale face and dark hollow eyes. Then the robled apparition seems to disappear. Meanwhile everyone watches respectfully as the Maharajah unfurls the whip for his first attempt. He flings the whip but it flies back and snaps - biting his own cheek. There's a stunned silence - then Short Round laughs at the little prince who is holding his wounded cheek. The incensed Ma - rahajah suddenly flashes the whip as Short Round. Short Round grabs the end of it and pulls hard - the whip is tugged taut between the two hostile boys. As they draw near each other, Short Round sees something weird : The little Maharajah's eyes begin glowing yelloe and he hisses softly in a strange voice. Nobody else sees or hears the bizarre transformation. Indiana finally intercedes - he grabs Short Round by the neck. INDIANA Okay, Short Round, let go of it. Short Round lets go and Indy gently takes the whip back from the little prince. INDIANA -LRB- Cont'd. -RRB- The Turks say that a whip can be an enemy even to its owner. If you get some rope, it'll be easier to learn with, your Highness. Now, I think we'll say goodnight. The Maharajah and Short Round stare hostiley at each other as Indy recoils his whip.", "INT. A PALACE HALL - NIGHT Short Round walks beside Indiana down the shadowy hall toward their room. Short Round has Indy's whip curled around his shoul - der. The little fellow yawns and shakes his head. SHORT ROUND That little Maharajah think he big stuff. INDIANA You do n't like him do you? SHORT ROUND Next time I flatten him! Did you see his eyes? INDIANA No. SHORT ROUND Indy, they glow like fire and get real crazy! Then he talk in this real scary voice! Indy tousles Short Round's hair. INDIANA He was afraid of you. He knows a tough guy when he sees one. SHORT ROUND -LRB- not so shure. -RRB- Yeah, that's what happened. They reach their room and Short Round opens the door. INDIANA I better see how Willie is. Short Round shakes his head scornfully as Indy crosses the hall and knocks on another door. After a moment, the door opens and Willie is standing there in a tempting nightgown. INDIANA I brought you something. He holds up something wrapped in a piece of silk. WILLIE -LRB- disgusted. -RRB- Not leftovers? INDIANA No - real food. Willie opens the bundle suspiciously - then her hace lights up as she examines the breads and fruits inside. WILLIE Oh, it is real food. it's beautiful. She bites happily into a piece of fruit - its juice runs down her chin and Indy wipes it off gently with his hand. The mouth deliberately seductive and Willie is not displeased. WILLIE -LRB- Cont'd. -RRB- You're nice. Listen, I'm taking applications - how'd you like to be my palace slave? INDIANA -LRB- smiling. -RRB- Wearing your jewels to be, prin - cess? Indy touches her necklace - then his hand caresses her neck and ear. She shivers slightly and speaks softly. WILLIE Yeah - and nothing else. -LRB- smiling. -RRB- That shock you? INDIANA -LRB- shaking his head. -RRB- I'm a scientist. I like doing research on certain `` nocturnal activities'' - She smiles and puts a grape to his lips. He opens his mouth takes it and chews it. WILLIE You mean like love rituals. He swallows the grape and they move toward each other slowly to kiss, revealing the passion that's simmering. INDIANA And mating customs. They kiss again more heatedly. WILLIE Primitive sexual practices? INDIANA You're taling to an authority in that area. They kiss again hungrily - WILLIE You're dying to come into my room, are n't you? INDIANA You want me so bad, why do n't you invite me? WILLIE Too proud to admit you're crazy about me, Dr. Jones? INDIANA I think you're too used to get - ting you own way, Willie. They kiss yet again - and Indy breaks it off, just to show he's still in control. He backs away toward his room. WILLIE -LRB- watching him. -RRB- We'll see who gives in first - I'll leave my door open. INDIANA Do n't catch cold. WILLIE Dr. Jones -? Indy stops by his door and sees Willie smiling as she holds up five fingers - WILLIE -LRB- Cont'd. -RRB- Five minutes. you'll be back over here in five minutes. INDIANA You're dreaming, Willie. You want to make it real, just knock on my door. He winks. She waves. But neither one will surrender first. Willie does into her room, leaving the door ajar. Indy opens his door.", "INT. INDIANA'S SUITE Indy comes in and closes the door - leaving it open a crack. He stands and listens, waiting for her to come over.", "INT. WILLIE'S SUITE Willie stands likewise by her door, waiting to hear Indy come back over.", "INT. INDIANA'S SUITE Indiana shrugs and walks over to a couch and starts taking off his tweed jacket and necktie - INDIANA Five minutes. fat chance.", "INT. WILLIE SUIT Willie moves around her lavish suite, turning down lights, creating a romantic effect, checking herself in a mirror - WILLIE -LRB- confidently. -RRB- Five minutes, Dr. Jones.", "INT. INDIANA'S SUITE Indy undresses in the magnificently decorated room : wall paint - ings show palace scenes and landscapes ; life - size figures dance and there are full - scale portraits or Rajput princes and prancing horses. But Indy's more concerned with lust than with art. INDIANA -LRB- muttering. -RRB-. want me to be her palace slave! He picks up his whip and smiles, considering using it on her. Then he just grubles and tosses the bullwhip onto the couch.", "INT. WILLIE'S SUITE Lying in bed in a seductive pose, Willie waits for Indy to show up and she starts to look worried. She grabs a clock and shakes it to see if it's working. She taps her fingers irritably won - dering in her charm has failed.", "INT. INDIANA'S SUITE We see another clock ticking. Looking annoyed, Indy tosses a boot at it and the clock falls on its face, setting of the alarm. On the chaise lounge in front of Indy's bed, Short Round moves groggily and sees Indy turning off the alarm. SHORT ROUND -LRB- half asleep. -RRB- Get to sleep Indy - I stay up and keep eye on things. INDIANA Okay, Shorty. see you in the morning. I'm going to have a little - word with Willie. Indy finally shakes his head and gives in to his animal instincts. He buttons his shirt, puts his boots back on and grabs his leather jacket. As he puts on his jacket he walks past the life - sized paintings of armed gaurds standing in silent vigil. Suddenly we see something frightening behind him : one of the wall paintings sees to come to life! A large figure in robes and a turban looms out from the wall and lifts a silk cord - the figure wraps the cord suddenly around Indiana's neck! The huge assassin stands behind Indy, twisting the cord even tighter around his neck. As Indy attempts to break free he sees the assassin's face is a mirror - and a strange yellow light glowing in the killer's eyes.", "INT. WILLIE'S SUITE Willie's finally had enough waiting and she gets out of beg petu - lantly. WILLIE He's not coming. I ca n't be - lieve it. She walks across the room and opens the door. She looks out the empty hall - and her resolve starts to weaken - WILLIE -LRB- Cont'd. -RRB- Well. -LRB- bracing herself. -RRB- No! I'm not going over there. She comes back into her room and kicks the door closed. WILLIE -LRB- Cont'd. -RRB- Sleep tight, Dr. Jones! -LRB- suddenly melancholy. -RRB- I could've been your greatest ad - venture.", "INT. INDIANA'S SUITE Indy shoves the assassin backwards, ramming the big man into the wall. The assassin maintains his deathgrip - while on the chaise, Short Round sleeps through it all! Gasping futilely for air, Indy sinks slowly to his knees - his eyes bulge and he stares at the tiny, smiling skulls at the ends of the death - cord wrapped around the assassin's fists. Indiana sinks lower and then feels something - desperately he grabs a brass pot on the floor by the handle and swings it with his last strength, smashing it up into the assassin's head with a skull - crushing clang! The assassin is stunned and Indiana curls forward pulling him into a somersault and sening him flying over his back. The ass - assin crashes on his sping next to the chaise. Short Round still does n't wake up. Indiana rips the cord from around his neck and gasps for breath. He sees the assassin pulling a knife. Indiana dives as the knife flies through the air and slams into the wall. Indiana grabs his whip, rolls and lands on his feet. As the ass - assin tries to retreat, Indy unleashes his whip - it CRACKS and wraps around the killer's neck. The big man struggles, pulling on the whip, trying to release it from his throat - and Indiana holds fast, watching the killer gasping for air now as his face turns red. Suddenly the assassin does a full - blown backward sommersault which rips the whip out of Indy's hand. The assassin has an in - stant to grin victoriously - Until he sees that the whip handle is arching toward the ceiling where is gets caught on the revolving fan! The surprised assass - in it tugged upwards - and the whip twists around the ceiling fan like fishing - line around a fishing - reel - And like a doomed flounder, the assassin is slowly reeled up and dragged toward the ceiling, his toes lifting off the floor. The assassin screams as he is hanged! His legs twitch in his death throes - and below him, Short Round finally wakes up. Always Indiana's protector, Shorty instictively leaps off the couch and draws a small dagger - SHORT ROUND Do n't worry, Indy! Where are they?! Short Round spins a 360, then looks up and does a double - take seeing the dead assassin twisting slowly around the ceiling fan. Indy takes Short Rund by the shoulders and turns him away from the grisly sight. INDIANA It's okay, it's over - go turn off the fan. Short goes over and turns off the fan - the assassin's body drops and Indy recoils his whip. Suddenly they hear a hideous scream - Willie!", "INT. WILLIE'S SUITE In a tight close - up : Willie screams again. She's lying in bed looking down at something - Moving up her shapely leg, a green and black, monstrous - looking insect crawls onto her stomach and Willie stops breather. Immo - bilized by fear, Willie watches in silent agony as the hideous insect climbs slowly up her breast and slithers toward her neck. Across the suite, the doors burst open and Indiana rushes in. Shorty is behind him, carrying Indy's whip. Indiana leaps on a stools and slides up to the bed to save WIllie - Then he spots the giant insect crawling on her and decides to have some fun. INDIANA This a cheap trick to get me over here? Willie speaks with desperate, fearful precision - WILLIE No - do n't you see - crawling - INDIANA What - the bug? Willie is petrified and shaking. WILLIE Get - the - bug - off! INDIANA Gee, I would n't want to touch an ugly critter like that! SHORT ROUND -LRB- grinning. -RRB- Uh uh - me neither! Willie looks at the man - of - action like he's insane. Then she feels the bug crawling onto her cheek - WILLIE Oh no - oh no! INDIANA -LRB- studying the bug. -RRB- You know, Willie, I'll bet he's mad because they were eating his friends for dinner. WILLIE Please - oh please, I'm going to die! Get it off! Indiana shrugs and leans over and casually swats the horrible bug off her face. He and Short Round watch the insect skid across the floor - and suddenly disappear as if by magic! Puzzled, they wander toward the wall, leaving Willie behind, bathed in sweat, staring at the ceiling - WILLIE What did I do to deserve this trip?! Kneeling by the wall, Short Round examines the baseboard - SHORT ROUND It went under. Hey, I feel wind, Indy. Indiana knocks on the wall and considers the hollow sound. He moves back and looks at the whole wall. Behind him, Willie moves past - WILLIE I'm packing! I'm getting out of here right now tonight! She dashes behind a screen to start getting dressed. Meanwhile Indy feels the marble walls. He moves to a niche in which there is a small statue of Ganesha, the friendly elephant god. Indiana lifts the statue - and a panel in the wall opens slow - ly. Short Round looks amazed. Indy watches the light fall across the far wall of a tunnel as the door opens slowly. Indy peers into the tunnel at an old wall painting. Spiderly San - skrit calligraphy runs under a flanking illustration of a prince bowing before a god. INDIANA * -LRB- He reads aloud an inscription in Sanskrit. -RRB-. SHORT ROUND What does it mean, Indy? INDIANA -LRB- translating. -RRB- `` Follow in the footsteps of Shiva. Do not betray his truth.'' Indy takes out the piece of cloth the boy gave him in Mayapore, the similarities are striking. It is also a picture of Shiva Sankara. INDIANA * -LRB- He repeats aloud the inscrip - tion also written on the cloth. -RRB- Over behind the screen, Willie's getting into some silk pants with an Indian - style brocade bodice top - WILLIE I do n't care if I have to walk to Delhi, I'm - hey! She notices Indy and Short Round bending to enter the dark tunnel behind the wall. WILLIE -LRB- Cont'd. -RRB- Wait a minute! What're you - where're you going?! Indy pokes his head back into the room - INDIANA Lock your door and do n't leave until we get back. He disappears behind the wall and Willie looks worried.", "INT. A PALACE TUNNEL - NIGHT Indy and Short Round enter the secret passage and move forward slowly into the inky darkness. SHORT ROUND I do n't think we suppose to be in here, Indy. They creep slowly down the dark tunnel. It grows smaller and Indy ducks his head. SHORT ROUND -LRB- Cont'd. -RRB- I step on something. Their footsteps crunch on the tunnel floor. INDIANA You're right, there's something all over the floor. Even Short Round has to duck and Indy finally kneels to his hands and knees. INDIANA -LRB- Cont'd. -RRB- We'll have to crawl. As they crawl, their hands and knees continue to crunch on what - ever it is littering the ground. SHORT ROUND Indy, the floor - there is some - thing alive! Indiana gets a match out of his pocket. He snaps it with his thumb and the match flares - a hideous insectarium : a living collection of the world's ugliest antropods, hexapods and arch - nids. SHORT ROUND Holy smoke - I'm scared, Indy! Indiana turns and sees something else - INDIANA There's a chamber here. Come on - Indy finds an oil lamp on the wall and lights it. Short Round happily scampers into the chamber and Indy follows him. Suddenly the door slides shut - trapping them inside!", "INT. THE CHAMBER Indiana lights a match and finds another oil lamp. He and Short Round look for a way to open the door that closed behind them, but they have no luck. INDIANA Damn! Then they hear Willie's voice echoing down the short tunnel. WILLIE -LRB- O.S. -RRB- Hey - where are you?!", "INT. WILLIE'S SUITE Back in the suite, Willie stands by the entrance to the secret passage, peering into the dark tunnel - WILLIE -LRB- Cont'd. -RRB- Indiana Jones?! Are you in there?!", "INT. THE CHAMBER Indy mutters irritably to himself - INDIANA Yes, we're in here. He looks everywhere for something to open the door. Short Round spots a loose brick and moves it - SHORT ROUND Indy, I found a - Suddenly they hear a rumble and Indy turns to see the opposite wall moving - the spikes start appearing! Their lethal points protrude from the wall as it starts closing in toward Indy and Short Round. SHORT ROUND -LRB- Cont'd. -RRB- Indy -! Shorty points up and Indiana sees more spikes descending from the ceiling! Indy turns toward the door and shouts - INDIANA Uh - Willie?! -LRB- louder. -RRB- Willie, you better get down here!", "INT. WILLIE'S SUITE Willie listens and looks scared - WILLIE -LRB- shouting back. -RRB- What?! INDIANA -LRB- O.S. -RRB- Willie, come here! Hurry up, we're in trouble! SHORT ROUND -LRB- O.S. -RRB- Willie, help! Willie is frightened, confused and jumping around -", "INT. THE SPIKE CHAMBER The deadly spikes inch slowly toward them from the wall and ceil - ing. They start pounding on the door and shout - INDIANA Willie, damn it! Get down here, NOW", "INT. WILLIE'S SUITE Willie finds the courage to finally whimper and step into the dark passage - WILLIE Oh hell - I bet I get all dirty again!", "INT. THE TUNNEL Willie starts down the dark tunnel toward the chamber. INDIANA -LRB- O.S. -RRB- WILLIE?! WILLIE I'm coming, what's the rush?! Ohh! What's that?! There's stuff all over the floor! I ca n't see a thing!", "INT. THE SPIKE CHAMBER They hear her coming and Indy watches nervously as the spikes draw even closer - INDIANA Move, Willie! Faster!", "INT. THE TUNNEL Willie crawls and crunches on the littered floor - WILLIE It's all wet and icky! Aaahh - things are moving! She sees the low lamp by the door to the chamber. SHORT ROUND -LRB- O.S. -RRB- Please, Willie! She grabs the lamp and turns it up so it burns brighter. She looks around - and SCREAMS! She sees the sickening, swarming mass of glistening insects crawling toward her, attracted by the light - WILLIE -LRB- hysterical. -RRB- There's bugs! Bugs all over! Help! Help me! INDIANA -LRB- O.S. -RRB- Willie, open the door! GET US OUT OF HERE! Willie pounds on the door - WILLIE OPEN THE DOOR! LET ME IN!", "INT. THE SPIKE ROOM The spikes close in - INDIANA GET US OUT! Willie, shut up and listen! There's got to be a ful - crum release! Look around! WILLIE -LRB- O.S. -RRB- A what?!", "INT. THE TUNNEL Willie whines and frantically searches the wall. Insects are crawling and jumping on her and she kicks at them! INDIANA -LRB- O.S. -RRB- A fulcrum release lever! WILLIE I ca n't find any lever! Help me Indy!", "INT. THE SPIKE CHAMBER Indiana and Short Round are backed against the wall and the spikes are a foot away and moving in - INDIANA Look around, Willie! There's got to be a liever hidden somewhere! Come on, you can do it!", "INT. THE TUNNEL Insects drop onto Willie from the ceiling and fly at her as she flattens against the wall. Then her elbow hits something - a loose stone. She claws at it and it falls out of the wall leaving a hole. WILLIE There's a hole! I found a square hole! INDIANA -LRB- O.S. -RRB- That's it - the release lever - look inside! WILLIE I am - it looks horrible! The hole is revolting : covered with squirming insects, it also oozes some kind of glistening mucus. INDIANA -LRB- O.S. -RRB- Reach inside! Willie moves her hand toward the nauseating hole then pulls back. WILLIE I ca n't, Indy! I ca n't!", "INT. THE SPIKE TUNNEL Indiana turns his head sideways and sucks in his breath, but the deadly spikes are poking into his leater jacket now - INDIANA The lever! Willie, do it! NOW!", "INT. THE TUNNEL Willie screams and jams her hand into the gross hole - WILLIE Oh God, it's soft - it's moving! INDIANA -LRB- O.S. -RRB- Willie!", "INT. THE SPIKE CHAMBER Short Round is frightened to death and crying - SHORT ROUND Willie, help us! Hurry!", "INT. THE TUNNEL She hears Short Round crying and twists her hand in the disgust - ing hole. Suddenly the door springs open! Willie pulls her hand out and stares in horror - her hand and arm are covered with greenish slimey mung!", "INT. THE SPIKE CHAMBER The spikes suddenly retract, disappearing into the wall and clos - ing. Indy pulls Willie inside the chamber and the door slams shut again. Willie dances around, yelling about the hideous slime on her arm. WILLIE Get is off me - get it off! Indy helps her wipe it off. Willie falls back against the door. WILLIE -LRB- Cont'd. -RRB- You left me out there! What in the hell were you doing in here?! I want to leave this place right now! She sees the same lever that Short Round pulled earlier and grabs for it. Indiana dives and manages to stop her from activating the spikes agian. INDIANA Not that one! We had enought of that one, thank you. He looks around and spots a small rock protruding from the wall. Cautiously, praying htat it wo n't activate another booby trap, Indy pushes the rock. A large door opens on the other side of the chamber - a soft wind howls past outside the chamber.", "INT. THE WIND TUNNEL Indiana, Short Round and Willie exit the spike chamber and head down a larger tunnel through which a roaring wind intermittantly blows, howling eerily like a note of gloomy music. Indiana follows a curve in the tunnel and they see light approaching. The wind holws another dramatic note which gales past them as they reach the mouth of the tunnel. Indiana is joined by Willie and Short Round. They all stop in astonishment at the sight below them :", "INT. THE TEMPLE OF DEATH As the camera pulls back, the mouth of the wind tunnel in which they are standing becomes just a small hole overlooking the stag - gering vastness of the incredible TEMPLE OF DEATH. The colossal subterranean temple has been carved out of a solid mass of rock. A vaulting cathedral - like ceiling is supported by rows of carved stone columns. Balconies overlook the temple floor. Pillared halls leading to dark side chambers. Moving out of these chambers, hundreds of faithful worshippers chant as they enter the temple. Mammoth stone statues of elephants, lions and demi - gods -LRB- half/man, half/animal monstrosities -RRB- loom above the swelling crowds or wor - shippers. As the wind howls out of the tunnel high above the temple, the worshippers chant in response to the strange tunnel music.", "INT. THE TUNNEL The moaning wind rushes past Indiana, Willie and Short Round as they watch the mystery cult below bowing toward an enormous altar at the far end of the temple. This altar is a platform jutting out from the stone wall of the cavern. Separating the worshippers from this altar is a wide crevasse out of which wisps of smoke rise occasionally.", "INT. THE ALTAR On the other side of the crevasse, evil - looking priests materialize out of clouds of swirling smoke. The priests carry smoke - billowing urns to a giant stone statue. Now, we see the hideous protectress of the temple, the obscenely malevolent ombect of the cult's devotion : the bloodthirsty god - dess KALI! The red - eyed priests bow at the base of the statue and gaze reverently at their KALI MA. Skulls surround her stone feet carved serpents twist up her legs, while around her waist there is a guresome belt of human hands. Naked to the hips, Kali's hair falls about her four arms. In her hand, she holds a sword, in the second the severed head of a giant.With her other hands she encourages her worshipers, who are chanting louder and louder! Kali's face is loathsome : her earrings are two corpses. Her evil tongue extends out of her twisted mouth and what looks like read blood flows over her long fangs and down her naked breasts.", "INT. THE WIND TUNNEL Watching from the high opening, Willie looks disgusted. WILLIE What is it? INDIANA It's a Thuggee ceremony. They're whorshipping Kali, the goddess of Death and Destruction.", "INT. THE TEMPLE OF DEATH A huge drum sounds three times and the chanting stops. The silence is chilling as another robed figure appears out of the some on the altar. This is MOLA RAM, the High Priest of the Thugge cult. Mola Ram's red - rimmed eyes glare from the sunken sockets in his sinister face. Here is a man who looks as vile and diabolic as the unholy goddess rising behind him. Up in the wind tunnel, Indy stares down at the High Priest and realizes that is was Mola Ram he saw conferring with Chattar Lal in the palace garden. As the drum booms three times more, Mola Ram lifts one arm up from his emaciated body and suddenly there is a scream! All heads turn toward an unfortunate, struggling Indian begin dragged out by priests. The man's face and body are wildly painted. He screams again as he's tied onto a square iron frame laying atop a large flat stone. Mola Ram steps forward to the stretched - out victim and the Indian looks up into the High Priest's grotesque face - Suddenly Mola Ram's hand shoots out toward the man's chest - and pierces it! The High Priests hand sinks into the victim's writing body and rips out his living heart!", "INT. THE WIND TUNNEL Willie covers her mouth - WILLIE Oh my God! He ripped out his - he killed him! INDIANA No. the heart's still beating!", "INT. THE ALTAR Indeed, the bloody heart is still beating in Mola Ram's hand! He lifts the heart into the air and the worhippers begin the chant. THE MULTITUDE Jai ma Kali, jai ma Kali! Stranger still, the sacrificial victim is still alive - there is no evidence of a gash on his chest, only a reddish mark The priests add chains to the iron frame and carry the victim over toward a hoist hanging over the crevasse. The man thrashes about helplessly on the iron frame as it is up ended and then lowered with the victim hanging face down - As the sacrificial victim looks down into the crevasse below - he screams - and we see the molten lava bubbling crimson at the bottom of the chasm!", "INT. THE WIND TUNNEL Willie closes her eyes but Indy and Short Round watch horrified as the iron frame is lowered - and the bloody heart continues to beat in Mola Ram's hand - and the molten lava burns and flickers as the screaming victim is lowered deeper into the crevasse.", "INT. THE TEMPLE The weird paint on the victim's face starts to smoke and sizzle - the man's skin blisters as he's lowered within feet of the lava. His flesh smokes and he screams one last time as his body bursts into flame. The iron frame sinks and submerges into the boiling fiery lava.", "INT. THE ALTAR Above the crevasse, Mola Ram continues to hold the heart in his hand - the heart is smoking and bursts into flames - and disappears!", "INT. THE TEMPLE The iron frame is raised out of the lava - the metal glows like a branding iron, but there is no trace of the sacrificed victim.", "INT. THE WIND TUNNEL As the wind howls again, Willie and Short Round look sickened and appalled by the ceremony. Even Indy seems shaken by what they are witnessing. THE MULTITUDE Jai ma Kali, jai ma Kali!", "INT. THE ALTAR Moal Ram raises both hands and his voice echoes strange incanta - tions. Behind him, three priests carry cloth - wrapped objects to - ward the altar.", "INT. THE WIND TUNNEL Willie is crying and her voice is shoking as she turns awa from the hideous ritual - WILLIE Let's go! Let's get out of here! INDIANA Quiet!", "INT. THE ALTAR The priests reverently unwrap three conical pieces of crystallized quartz. The place the three stones below the sta - tue of Kali and slowly the smoke around the altar swirls - The smoke is drawn to the three stones and they actually start in - haling the piraling smoke. The smoke disappears into the stones and the air clears. Then the three stones start to glow a haunting incandescent white.", "INT. THE WIND TUNNEL Short Round looks scared. Willie is still crying - Indy waits, horrified but fascinated. INDIANA The village knew their rock was magic - but they did n't know it was one of the lost Sankara Stones. SHORT ROUND Why they glow like that? INDIANA Legend says that when the stones are brought together the diamonds inside of them will glow. Willie wipes her eyes and becomes more interested - WILLIE Diamonds?", "INT. THE ALTAR The Sankara Stones shimmer brightly, and inside the crystallized quartz, the enormous sparkling diamonds of legend are now re - vealed. Mola Ram stands facing Kali with his arms outstretched and kneels and bows and then walks off the altar and disappears.", "INT. THE WIND TUNNEL Indiana sees the woshippers below start to leave the temple. He looks at Willie and Short Round. INDIANA Okay - now listen - you wait here and keep quiet. Shorty, keep an eye on her. Short Round nods and hands Indy his bullwhip and shoulder bag. Willie sees Indiana peering down at the sheer drop below the mouth of the wind tunnel. WILLIE Wait - what're you doing? INDIANA I'm going down. WILLIE Down? Down there?! Are you crazy -! INDIANA I'm not leaving without those stones. WILLIE You're gon na get killed chasing after your damn fortune and glory! INDIANA -LRB- looking at her. -RRB- Maybe. someday. -LRB- smiling. -RRB- Not today. SHORT ROUND I keep my eye peeled, Indy. Indiana nods and looks down at the now empty temple. Then he slips down from the mouth of the wind tunnel.", "INT. THE TEMPLE WALL Indiana skillfully clumbs down an enormous tmeple column - find - ing footholds on stone cobras, carved lions and the stone breasts of dancing girls. Slowly, he makes his way down and swings across a balcony.", "INT. THE BALCONY Indiana walks quietly along the balcony overlooking the temple. He stops - between him and the altar is the crevasse with the lava bubbling fire at the bottom. Indiana looks across the gulf and sees another column near the altar at the top of which stone elephants are perched. Indy curls his whip and suddenly lets it fly - The whip cracks and its end wraps tightly around the tusk of one of the stone elephants. From the balcony, Indy tugs the whip taut, takes a breath and runs -", "INT. THE CREVASSE Indiana leaps and swings out on the whip, arching down and up, over the chasm of fiery lava in a spectacular curving jump!", "INT. THE LATAR Indy lands on his feet and turns to release the whip. Short Round waves to Indy that the coast is clear. Indy snaps the whip - it releases from the elephant tusk and drops. Recurling the whip, Indy attaches it to his belt and moves to - ward the towering statue of Kali. The three Sankara stones start to glow and Indiana approaches them cautiously. Reaching the stones, Indy's face is lighted by them. He notices that one of them -LRB- sthe stone from Mayapore village -RRB- has strange lines painted across it. Suspiciously, Indy touches the stone, but it does n't burn. He lifts it carefully and peers into it. The enormous diamond sparkles inside. He places the stone in his shoulder bag and reaches for the others.", "INT. THE WIND TUNNEL Short Round and Willie watch apprehensively as Indiana bags the three stones.", "INT. THE ALTAR Indiana backs away and looks up at the horrific statue of Kali. It seems to be watching him. He turns and is about to go when he hears something - It sounds like a voice and Indy is afraid to turn - could it be Kali? The he hears other noises echoing and turns slowly. Real - alizing the sounds are coming from behind the altar, Indy moves around it toward the back.", "INT. THE WIND TUNNEL Short Round and Willie are mystified as they see Indiana dissap - pear behind the altar. WILLIE Oh hell, where's he going? Short Round looks worried. Then the wind rushes past them quickly and howls its somber musical note. However, the wind sounds dif - ferent this time, its tone quavering slightly. Short Round is puzzled and looks around. He feeezes when he sees two shadowy figures coming down the tunnel toward them - the bodies causing the tone of the wind to shift eerily - Willie notices Short Round pulling a dagger from his belt - WILLIE What're you -? Suddenly she turns and screams as two huge Thuggee guards rush at them! One grabs at Short Round but the kid slashes the guard's hand with his dagger. Willie tries to get past the other guard, but he snatches her by the arm and pulls her toward him - from her training at the Col - lege of Hard Knocks, Willie successfully knees the big man in the balls. WILLIE -LRB- Cont'd. -RRB- Keep your paws off, letch! The man groans and sinks to his knees. Willie sees that Short Round is in trouble. She runs over, leaps onto the back of the other guard and starts ripping his hair out. Short Round picks up his fallen dagger. The big guard lurches backwards and smashes Willie into the rocky wall of the tunnel. Willie falls to the floor. Short Round approaches, holding the man at bay with his dagger. Willie turns as the other guard, the one she kneed, crawls toward her - Willie scoops up some dirt and throws it. The man claws at his eyes and Willie jumps up. SHORT ROUND Run Willie! Willie starts to run and Short Round backs away, keeping the guard at a distance with his dagger. Suddenly the guard cries out in Hindi and dives at Short Round. Panicking, Shorty tries to run after Willie - but he's tripped. The guard has Short Round by the foot and drags him back. Willie looks around and stops running. She sees Short Round is caught. SHORT ROUND -LRB- Cont'd. -RRB- No! Run! Go get help! Willie hesitates, then runs down the tunnel. Meanwhile, a mam - moth hand clutches Short Round's throat - the giant guard lifts Shorty completely off the ground and the kid looks terrified and helpless as he dangles in the air.", "INT. CHAMBER BEHIND ALTAR Indiana enters the dark chamber behind the altar. The only il - lumination is the back - light streaming around the silhouetted statue of Kali. Indy slowly crosses a narrow stone bridge and moves toward a cy - lindrical shaft of light rising up from what appears to be an enormous hole. Indy hears voices and the clink of metal against rock as he con - tinues forward. The ground is dark in front of the large hole. He edges toward the precipice and the light rising up illuminates the look of shock on his face as he peers down into Hell.", "INT. THE THUGGEE MINES Indy looks into a deep pit around which concentric paths leads off into numerous narrow tunnels. Crawling out of these burrows, scrawny children drag sacks of dirt and rock. Other hollow - eyed children pull these sacks to mine cars waiting on rails. Straining to lift the rocks into the mine cars, several of the children slip and fall. Bare - chested Thuggee guards shout at the enslaves children and kick those who've fallen. For these children there would seem to be only one hope - death - an end to their travail. Indiana edges around the hole, looking into the ghastly mine and feeling as if he's discovered an inferno of misery as grotesque as Dante's. Indy shifts the bag of stones on his shoulder. He hesitates and considers his choice : he has the Sankara Stones and can leave with them now. But Indy hears the pleading cries of one child and peers down to see a burly Thuggee guard beating the pitiful little slave. Indy gets angrier and angrier as he watches. He finally steps over the grabs a boulder. He lifts it and flings it down into the mine -", "INT. THE MINE We see Indiana above and the boulder hurtling down - it crashes onto the head of the Thuggee guard who hits the ground like a sack of cement!", "INT. THE CHAMBER Indy sees the startled slave children looking up at him in shock. He smiles victoriously at the Thuggees below who've run over to see what happened. Indy's smile seems to fade as his anger turns to surprise as he feels something unnerving : Dirt is crumbling away from the rim of the hole, a small landslide starting beneath his feet. Suddenly the floor gives way and Indy slips! The entire rim of the hole shears off and Indy topples with it and plunges down into the mine toward the assembled guards who scatter - Indy yells as he falls and it echoes.", "INT. A CELL - NIGHT Indiana's yell continues to echo - his head jerks suddenly - Indy jolts awake as if coming out of a nightmare, awakened by his own reverberating shout. Indy is lying on the rocky floor of a dark cave/cell. He lifts his hands and discovers that they are chained. In the murky light, he sees Short Round sitting in chains across the cell. SHORT ROUND Indy - you knocked out when you fall. You okay? Indiana nods groggily. He sees a young slave worker in rags sit - ting near Short Round. Through the iron bars of the cell, Indy sees the children slaving in the mine tunnels. SHORT ROUND -LRB- indicating the kid. -RRB- This is Nainsukh - from the vil - lage. They bring him here to dig in the mines. INDIANA Why? NAINSUKH Children are small - we can work in tunnels. Now I am too old. SHORT ROUND What they do to you now? NAINSUKH I pray to Shiva - let me die. But I do not. Now - now the evil of Kali take me. SHORT ROUND How? NAINSUKH They will make me drink blood of Kali. Then I fall into black sleep of Kali Ma. INDIANA What is that? NAINSUKH I become like them. I be alive - nut like in nightmare. You drink the blood, you not wake up from nightmare of Kali Ma. There's a noise and they see two guards and a priest outside the cell. Nainsukh cowers in the darkness at the back of the cell, like a trapped animal awaiting the inevitable.", "INT. A MINE TUNNEL - NIGHT Indiana and Short Round are pushed down a tunnel by guards. They are stopped at a door and shoved inside.", "INT. MOLA RAM'S CHAMBER Indiana and Short Round stumble into the chamber. It is a terri - fying gallery of occult yantras, ritualistic statues and grisly icons of the evil Thuggee sect. Grotesque statues of Kali's baleful minions line the walls. In a corner, there is another statue of Kali herself, draped with flowers, necklaces of real human skills and slithering belts of live snakes. Fresh blood has been splashed over the statue and at its base are the three Sankara Stones recovered from Indiana. Mola Ram sits in a yoga position near the statue of Kali. Mola Ram opens his eyes and he sees Indiana and Short Round standing in chains before him. MOLA RAM You were caught trying to steal the Sankara Stones. INDIANA -LRB- shrugging. -RRB- Nobody's perfect. The way I heard it, you stole one of them from a small village. Mola Ram stands and gazes transfixed at the stones glowing on the altar. MOLA RAM There were five stones in the beginning. Over the centuries they were dispersed by wars, sold off by thieves like you. INDIANA Two are still missing. MOLA RAM No. They are here - somewhere. A century ago when the British raided this temple and butchered my people, a loyal priest his the last two stones down here in the catacombs. INDIANA That's what you've got these chil - dren - these slaves digging for? MOLA RAM They dig for the gems to support our cause. They also search for the last two stones. Soon we will have all five Sankara Stones and the Thuggees will be all powerful! INDIANA Nobody can say you do n't have a vivid imagination. MOLA RAM You do not believe me? You will, Dr. Jones. You will become a true believer. The door opens and Mola Ram bows slightly as the little Maharajah enters. Indy looks surprised and Short Round tenses. MOLA RAM -LRB- Cont'd. -RRB- Your Highness will witness the thief's conversion. Mola Ram nods and two guards grab Indy. They drag him struggling to a rock and chain him to it. Short Round scuffles as he's pulled aside to watch. Remembering the High Priest's earlier open - heart surgery, Indi - ana looks worried as Mola Ram approaches him - MAHARAJAH You will not suffer. I recently became of age and tasted the blood of Kali. Now the young initiate comes forward and Indiana looks startled - it's Nainsukh. He is wearing robes and his eyes are glowing strangely. Nainsukh hands Mola Ram a hollow human skull full of blood! The guards hold Indiana's head back and force his mouth open. Mola Ram tips the skull and blood spills out of its death - grinning jaws and flows into Indiana's mouth. Indy gags - Suddenly he spits the blood, spraying Mola Ram and the little Maharajah. Looking at his blood - splattered clothes, the Mahara - jah is furious. MOLA RAM Hold him! The little prince's eyes glow angrily and he hisses at Indy - MAHARAJAH You will learn to obey because you are powerless! The little Maharajah pulls a small krtya from his robes - Indy sees that the doll has been crudely fashioned to resemble him. MAHARAJAH -LRB- Cont'd. -RRB- I control you now! The Maharajah turns and sticks the doll into a flaming urn. In - diana suddenly cries out and twists in pain as he is burned! The little prince smiles evilly and puts the doll back into his robes. Then he goes over to where Indy's whip and bag have been laid. He grabs the bullwhip. MAHARAJAH -LRB- Cont'd. -RRB- You told me that a whip could be an enemy to its owner. We shall see! Turn him over! As the guards turn Indy face down, they rip off his jacket and chain his ahnds to the rock. The Maharajah uncurls the whip - he notices Short Round smiling snidely - Suddenly the Maharajah cracks the whip - it lashes out and cuts into Short Round's shoulder. Blood appears and Short Round looks stunned by the lash and by the fact the Marahajah knows who to use the whip. MAHARAJAH -LRB- Cont'd. -RRB- As Dr. Jones suggested, I have been practicing. The little Maharajah whirls and lashes the whip again. Indiana jerks as the bullwhip rips through his shirt and tears open his flesh. The Maharajah lashes again and again - blood spurts across Indy's tattered shirt. As the whipping continues - Short Round jumps as if he is also be - ing beaten. His eyes fill with tears as he watches Indy suffer. Finally, the little Maharajah lets the whip fall limp. As the Maharajah approaches Indy, Short Round lunges as him angrily but the guards restrain him. Indiana groans as he's turned over. Blood trickles from his mouth and he stares up hatefully at Mola Ram. MOLA RAM The British in India will be slaughtered. Then we will over - run the Moslems and force their `` Allah'' to bow to Kali. Mola Ram is once again given the human skull by a priest and he lifts it toward Indy's face - MOLA RAM -LRB- Cont'd. -RRB- And then the Hebrew God will fall and finally the Christian God will be cast down and forgotten. Indy's head is held back and Mola Ram spills the blood - it flows out of the mouth of the skull into Indy's mouth. MOLA RAM -LRB- Cont'd. -RRB- Soon Kali Ma will rule the world! Indy's eyes look horrified as the blood flows from the skull down his choking throat - some of the blood spills and falls to the floor - We see the very earth trembling as the evil spreads - a fissure appears beneath Indy's feet and a small line of crimson lava oozes out and smiles evilly across the floor.", "INT. WILLIE'S SUITE - NIGHT Diaphanous curtains billow silently into the moonlighted room. Two exotic birds sit on a golden perch, their eyes clicking watchfully. Suddenly the brids shriek and flap away - Willie stumbles through the secret door and falls into the room. Insects cover her and she shimpers as she knocks them off. She manages to stagger to her feet and she heads for the door.", "INT. THE PALACE - NIGHT Willie rushes out of her room and runs through the deserted pal - ace looking for help. She flies down the moonlit corridors, past the huge wall paintings. She stops by a courtyard and calls out desperately, but there is no one around. She backs away down a hallway and then jumps - seeing something in a mirror : a face looms behind her and she screams! Willie whirls and sees Chattar Lal, the Prime Minister, approach - ing her. WILLIE Oh my God, you scared me! Listen, you've got to help. We found this tunnel - Captain Blumburtt comes around a corner and interrupts - CAPT. BLUMBURTT -LRB- to Chattar Lal. -RRB- Jones is n't in his room. Miss Scott - my troops are leaving at dawn if you want us to escort you to Delhi - WILLIE No - you ca n't go! Something aw - ful's happened. They've got Short Round and I think Indy's been - CAPT. BLUMBURTT What? WILLIE We found a tennel that leads to a temple below the palace! Please, come with me, I'll show you! The two men exchange dubious looks. Willie grabs Blumburtt by the arm and they start down the hall. CHATTAR LAL Miss Scott, you're not making any sense. WILLIE I'm afraid they'll kill them! We saw horrible things down there - they had a human sacrifice and they ripped a man's heart out! CAPT. BLUMBURTT Who? WILLIE It's some kind of cult! And they've got the sacred stones that Indy was searching for. CHATTAR LAL I sense the fumes of opium in all this. Prehaps Miss Scott picked up the habit in Shanghai. WILLIE What're you talking about - I'm not a dope fiend! I saw it! I'll show you!", "INT. WILLIE'S SUITE She leads them into her suite. Willie points to the dark opening in the wall. Blumburtt picks up an oil lamp and holds it toward the opening - suddenly he jumps back as Indiana emerges! INDIANA -LRB- smiling faintly. -RRB- What're we playing, hid and seek? They're all startled. Willie looks relieved and rushes over to Indy and puts her arms around him. WILLIE Oh, Indy, you got away! Tell them what happened, they wo n't believe me - He puts his arms around her and feels her trembling from fear and anger. He walks her to the bed and helps her sit down - INDIANA It's okay. You're all right now. WILLIE They think I'm insane. Tell them I'm not, Indy. Please - help me. The awful events have taken their toll and Willie covers her face and cries like a scared kid. Indy gets her to lie down on the bed. He sits beside her and smiles and touches her hair - INDIANA Hey, I thought you were supposed to be a real tropper. Willie? He wipes the tears from her face and she holds his hand - WILLIE -LRB- quietly. -RRB- What? INDIANA You've got to go to sleep now. WILLIE -LRB- softly. -RRB- I want to go home. INDIANA I do n't blame you. this has n't been what you'd call a fun vaca - tion. She smiles a little despite herself and he touches her cheek. He eyes are already closing and he stands up. A servant is entering the suite to take care of Willie. She cov - sers her with a blanket and start dropping the mosquito netting as Indy walks off toward the verandah with Blumburtt and Chattar Lal.", "EXT. THE VERANDAH - DAWN The first light is breaking over the mountain peaks. Coming out onto the verandah, Indy and the other two men see the cavalry troops breaking camp below and readying their horses and trucks. INDIANA I've spent by life crawling around in caves and tunnels - I should n't have let somebody like Willie go in there with me. CAPT. BLUMBURTT Miss Scott panicked? INDIANA When she saw the insects she passed out cold. I carried her back to her room. She was sleeping when I re - entered the tunnel to look around. CHATTAR LAL As she slept, she undoubtedly had nightmares. Indiana looks at him and nods. INDIANA Then she must have run out of the room and you found her. CAPT. BLUMBURTT Did you discover anything in that tunnel, Dr. Jones? Indiana stares into the rising sun. INDIANA Nothing. Just a dead end. That tunnel's been deserted for years. A sergeant - major shouts up to Blumburtt that the troops are ready. CAPT. BLUMBURTT Well, Mr. Prime Minister, my re - port will duly note that we found nothing unusual here in Pankot. CHATTAR LAL I'm sure that will please the Maharajah, Captain. CAPT. BLUMBURTT -LRB- to Indiana. -RRB- As I said before, we'd be happy to escort you to Delhi. INDIANA Thanks, but I do n't think Willie is ready to travel yet.", "EXT. THE PALACE ROAD - MORNING Dust swirls as the British cavalry moves off with their Highland Pipers at the head playing a military bagpipe tune. Capt. Blum - burtt comes out of the palace and gets into an open car. Blumburtt's car moves off behind the cavalry and then the supply trucks follow.", "INT. WILLIE'S SUITE The whine of the bagpipes is eerily muted in the dark room. Through the gently swaying mosquito netting, we see Willie asleep on the bed. Then through her side of the gauzy netting, we see the door opening across the room. Indiana enters quietly and moves toward the bed, his eyes fixed on Willie's sleeping body. Indy sits down on the bed slowly. Willie turns in her sleep and opens her eyes. Through the mosquito netting she sees Indy sit - ting with his back to her. WILLIE Indy? Did you walk to them? INDIANA Yes. WILLIE So now they believe me. INDIANA Yes, they believe you. Indiana speaks in a strange monotone. WILLIE Then they'll send the soldiers down into the temple. Willie looks at Indiana's back and continues quietly. WILLIE -LRB- Cont'd. -RRB- I was scared to death last night when I thought they were going to kill you. INDIANA No. they wo n't kill me. WILLIE -LRB- smiling faintly. -RRB- You know you've been nothing but trouble since I hooked up with you - but I have to admit I'd miss you if I lost you. Now Indiana starts to turn slowly. INDIANA You wo n't lose me, Willie. She sees him turn and his face slowly comes toward the mosquito netting - his face pushes into the netting and Willie looks stunned as Indy's mouth opens - He starts hissing grotesquely, smoke billows out of his mouth and the mosquito netting BURNS OPEN to expose his terrifying face moving toward Willie - She is forzen with fear and unable to utter a sound as Indy's malevolent face looms at her - and then she notices his eyes - his eyes glowing a hellish luminscent yellow! Willie SCREAMS! She suddenly bolts from the bed and tries to run - Indiana goes into a rage, ripping the mosquito netting from the bed as he fol - lows her. INDIANA No! I've found it - you ca n't - Kali knows! Willie tries the door but it's locked. She sees Indiana moving toward her ranting incoherently as he smashes a vase out of his way - INDIANA - been too many lies - there's no god's heaven - just - the horror! I've seen it - life preying on life! Willie cowers in a corner, horrified by the transformation she sees in Indiana. Shouting and pacing Indy holds his head against the pain of his terrible thoughts - INDIANA - rivers - destroying mountains - a comet in space - exploding! -LRB- holding his head. -RRB- Aaahh! - the screams - pitiful people - their pain - the hate - and greed - always greed! The light throws his shadow over Willie - a giant shadow float - ing back and forth over her as she cries in the corner, unable to fight the evil devouring Indiana. INDIANA - but I've found - Kali's touch! Death - no more lies - the death I've been searching for! -LRB- shouting. -RRB- Quit crying! She can hear you - Kali knows fear - do n't you under - stand - Kali is freedom! Indiana stops pacing and Willie freezes in terror. Now a bizarre yellow light wipes across the room. Indiana turns and watches silently as two Thuggee guards emerge from a secret doorway that's opened - The shadows of the Thuggee guards loom over Willie and she SCREAMS again!", "INT. THE TEMPLE OF DEATH - DAY A sea of frightening faces once again intones the horrible sacri - ficial chant. Among the shorshippers, the little Maharajah sits on a riased platform. Like the other believers, he stares across the crevasse at the altar of Kali Ma. The wailing wind howls out of the high tunnel and the terrifying chanting reaches a fever pitch.", "INT. THE TMEPLE ALTAR And once again the three sacred Sankara Stones glow magically. Mola Ram materializes evilly amidst the swirling smoke and he begins chanting in Sanskrit. Beside the altar, half - clad female acolytes pass in front of the robed priests - with their fingers the women paint two white lines across the priests' foreheads. An acolyte moves in front of Chattar Lal - the Prime Minister is now dressed in robes. As the devotional markings are painted on his forehead, Chattar Lal translates the High Priest's speech to Indiana who stands next to him. CHATTAR LAL Mola Ram is telling the faithful of out victory. He says the British have left the palace, which proves Kali Ma's new power. INDIANA Yes, I understand. Indiana bows his head to receive the mystical markings. He lis - tens to Mola Ram's rantings - Indy's eyes are ominously vacant as he stares up at the hideous statue of Kali.", "INT. MINE TUNNELS - DAY Beneath the temple, down in the bowels of the mountain, the piti - ful children dig at the earth with their fingers. A FAT GUARD slouches down the tunnel, flogging malingerers with a aleather strap. Short Round sweats next to the others, clawing at the rocks, doomed to work with them now in their search for the last wo Sankara Stones. The leather strap suddenly flays Short Round's back and he barely manages not to scream out in pain. The fat guard passes - Short Round and the other kids pull a large rock which suddenly comes loose out of the wall -! They fall back and see they've exposed a vein of molten lava! Hearing their shouts, the fat guard returns - yelling at their stupidity, he whips them and shoves them aside brutally. Short Round see the fat guard's eyes glowing fiercely in anger. Suddenly the fissure shoots out steam and spews some molten lava over the guard's legs. The guard screams and falls to the ground, thrashing about, try - ing to kick the searing lava off his smoking flesh. As the other kids cower, Short Round's humane instincts cause him to jump forward to help the guard who moments earlier was beating him - Short Round tosses dirt on the guard's legs and grabs a gunny sack and starts rubbing the lava off. Shorty notices something strange : The guard's eyes, which were glowing yellow before, are now dim - ming and returning to normal. The moaning guard looks at Shorty thankfully and then looks around as if waking from a nightmare - SHORT ROUND -LRB- to another slave kid. -RRB- His eyes - they go out. Other guards appear and lift the guard - suddenly he starts struggling against the guards not wanting to return to the night - mare of Kali - FAT GUARD -LRB- as he's dragged away. -RRB- No! NO! SHORT ROUND The pain - the pain makes him wake up! -LRB- thinking quickly. -RRB- Indy! I can make Indy wake up! But the other guards push and beat the children back to work. Short Round is shoved against a wall and groans - he reaches over and grabs a large rock, lifting it defiantly - But rather than heaving it at the guard, Short Round smashes the rock down on the leg chains binding him to the other children. Shorty beats at the chain with the rock, determined to escape. SHORT ROUND Indy!", "INT. THE TEMPLE OF DEATH The wind moans and joins Mola Ram's voice echoing maniacally over the multitude gathered in the enormous temple. On his throne, the little Maharajah listens transfixed.", "INT. THE ALTAR Chattar Lal watches Indiana staring hypnotically at the High Priest as he speaks - CHATTAR LAL You understand what he tells us? INDIANA Kali Ma protects us now and for - ever, and we must pledge our devotion by worshipping her with an offering of flesh and blood! Suddenly htere is a heart - rending scream of terror and the priests draf forward the next sacrificial victim - Indiana's glowing eyes watch emotionlessly as Willie is brought out. Dressed in a Rajput maiden's outfit, Willie has been jewel - ed and draped with flowers - a strange contrast as she struggles desperately. CHATTAR LAL Your friend has seen and she has heard - now she will not talk. As Willie is dragged past she sees Indy and calls to him - WILLIE Indy! Help me! Indy?! Willie is shocked seeing that Indiana remains impassive and un - caring as she's dragged to her death. CHATTAR LAL -LRB- to Indy. -RRB- This will prove your devotion to Kali. Indiana looks away from Willie's terrified face and stares up adoringly at the monstrous statue of his goddess Kali.", "INT. THE MINE In the dark tunnel, a rock smashes down onto a chain - and breaks it! Short Round is exhausted. He looks around furtively and sees a guard approaching. Short Round takes a chance - he dives and rolls across the tunnel. He ducks behind a mine car full of rocks being pushed out by two chained children. The guard lumbers past unsuspectingly as Short Round makes his escape using the moving mine car as cover.", "INT. THE ALTAR Up in the temple, Willie continues to struggle as her legs are strapped to the iron sacrifical frame. Chattar Lal grabs her hand and ties it down. Willie's free hand reaches out imploring - ly toward Indiana - WILLIE -LRB- hoarsely. -RRB- Please, God, do n't let them do this to me - help me, Indy! He reaches out slowly and Willie grabs his hand tightly. Indy looks into her eyes and then stares at her hand - and slowly lifts it and starts tying it to the iron frame. WILLIE -LRB- Cont'd. -RRB- No - no! Willie cries is disbelief as Indiana calmly betrays her.", "INT. THE MINES BELOW Short Round races up a tunnel and then flattens himself behind a corner. He peers anxiously into a large carven and sees two guards walking away. When the coast is clear, Short Round darts across the cavern to a long wooden ladder tilted up against a wall. Short Round looks up the high ladder and sees a kid with a sack of rocks descending from a burrow - hole half - way up the wall. The exhausted kid nearly collapses at the bottom - then jumps seeing Short Round. Shorty motions for him to keep quiet. Amaxed, the kid watches Short Round scramble up the ladder. Shorty continues until he is high above the floor. Dirty faces stare out of the high burrow as Short Round stops climbing. The kids are astonished as Short Round suddenly grunts and kicks the ladder away from the wall! The high ladder falls in an arc and what seem like sure suicide slowly resembles a mini - Indiana Junes stunt as Short Round swings to the other side of the falling ladder - Short Round holds on for dear life as the ladder crashes against the opposite cavern wall - giving Short Round access to the roof - hole that leads up to the temple! Short Round scurries up the ladder and pulls himself up into the chamber behind the altar. He looks at the light flaring around the statue of Kali - SHORT ROUND Indy -!", "INT. THE TEMPLE OF DEATH Chains clank and gears grind as the sacrificial frame is raised over the crevasse. Stretched out on it, Willie looks horrified as she hangs suspended face down above the boiling lava! The frame and victim descend slowly into the crevasse and the crowd around the little Maharajah changs louder.", "INT. THE REAR CHAMBER Short Round dashes across the dark chamber behind the altar. He peers out and sees Willie disappearing into the crewasse! He sees Indiana watching impassively - SHORT ROUND No - Indy - wake up! Then Shorty sees a flaming torch hanging on a wall bracket and he has an idea.", "INT. THE ALTAR Short Round suddenly darts out onto the altar and Mola Ram sees him and yells. Several priests grab for Shorty. He eludes the first priest, smashes the second in the stomach with his head, and runs like a little quarterback toward the fiery torch - Short Round snatches the torch from the wall and charges toward Indiana. Seeing him coming, Indy's eyes start glowing yellow and when Short Round runs up to him, Indiana suddenly swings and backhands the little guy brutally across the face! The torch flies out of Shorty's hand as he's knocked against at wall by Indy's vicious blow - Short Round wipes a little blood from his chin and stares at his hero in wounded disbelief. Chattar Lal watches approvingly - a priest moves toward Shorty. Chattar Lal looks back toward the crevasse - Willie hangs on the lowering frame, heat waves rising up now to scald her skin and she chokes as the sulphuric air burns her lungs! Meanwhile Short Round is crawling backwards across the floor with a look of terror on his face - Indiana stalks him, hissing, snarling, his eyes lgowing - Short Round springs to his feet and tries to run - Indy grabs him and pulls him - Shorty's hand grabs for another wall torch and just manages to yank it free! Indiana spins Short Round and clutches his throat. As Indy strangles him, Short Round struggles and finally jams the torch into Indy's side. The fiery torch burns Indy, smoking as it sears his flesh, and he yells in pain. SHORT ROUND Wake up! It's just a nightmare, Indy! Wake up, please Indy! Indiana writhes in pain and Short Round sees the evil yellow glow in Indy's eyes getting dimmer and finally going out. Now it seems like theold Indiana staring at him - SHORT ROUND -LRB- Cont'd. -RRB- Indy, you back? Suddenly a priest grabs Short Round and pulls him off Indiana. INDIANA No! Give him to me! Short Round is firghtened as Indy grabs him from the priest. Indy lifts Short Round into the air - SHORT ROUND No, Indy, no! He sets Short Round down on the brink of the crevasse an inch from doom. Shorty looks down at the lava and is terrified. Indiana finally flahses him a quick smile and winks! Then Indiana whirls and punches the priest in the face! Short Round cheers, realizing that Indiana is back. SHORT ROUND -LRB- Cont'd. -RRB- We got to help Willie! Indiana springs into action, stopping another priest with a quick punch in the stomach. Then he rushes over to the crankwheel and pulley platform. Indy jumps onto it, yanking one priest off who spills onto the floor. A second priest, who works the controls lowering the sacrificial frame, sees Indy and releases the crankwheel - Down in the crevasse, Willie screams as the iron frame suddenly plummets toward the fulminating lava! On the platform, the priest lunges at Indiana - Indy uses the man's own momentum to throw him over his head. Indy then dives for the crankwheel and manages to stop it - Down in the crevasse, the fram jolts to a stop only yards above the spumes of fiery lava. The heat is so intense now that Wil - lie's clothes start smoking and she passes out. On the platform above, Indiana cranks furiously, raising the sa - crificial frame.", "INT. THE TEMPLE The chanting stops at the Kali worshippers notice the battle on the altar. The little Maharajah looks concerned and leaves, shoving through the crowd behind his bodyguards.", "INT. THE ALTAR Mola Ram shouts at his priests and another one of them runs to - ward Indy on the platform. Short Round dives and tackles the priest. Chattar Lal finally leaps onto the crankwheel platform and Indy sees him pull a dagger. He slashes at Indiana and Indy has to let go of the crankwheel - the gears scream and the chains screech! Below in the crevasse, the iron frame plunges again toward the crimson lava! On the platform, Indy hears the frame lowering and looks pan - icked. Chattar Lal slahses again with the dagger - keeping Indy away from the cogwheel mechanism - Indy suddenly kicks the dagger from Chattar Lal's hand slugs him in the stomach and dives toward the cogwheel mechanism. He grabs a iron rod and throws it into the gears - the gears mangle the iron rod but finally grind to a stop. Indi - ana grabs the crankwheel and starts winding it up furiously. Meanwhile, Short Round jumps onto the platform with Indy and grabs a long wrench. He starts swinging the wrench, keeping the last priests off the platfrom. The sacrificial frame finally rises up into view and Indiana grabs it and swings it over onto the platform. He looks at Wil - lie anxiously as he releases her bindings - Willie moans and moves her head. Indy pulls her off the frame and she starts coughing. Gasping for breath, Willie ervives as fresh air flows into her lungs. Finally Willie opens her eyes and she sees Indiana. Then she notices something else and manages to cry out hoarsely - WILLIE Look out -! Chattar Lal grabs a pistol from an unconscious guard and Indiana whirls to see him pointing it - Indy kicks the gun from his hand and suddenly Chattar Lal starts shouting in a terrifying voice - Chattar Lal's eyes glow as he lunges suicidally at Indiana, at - tempting to take Indy with him as he dives from the platform! Crashing into Indy, Chattar Lal knocks both of them back onto the sacrificial frame which swings out over the crevasse - Indy manages to dive off the frame just in time. He grabs hold of the platform as the crankwheel screams and the frame falls! Looking up from the depths of the crevasse, we see the frame with Chattar Lal on it plummeting downward into the sulphurous smoke! The frame finally crashes, splashing into the molten lava. Chattar Lal's body explodes inot flame friefly - his flesh is broiled off in an instant - we glimpse a skeleton momentarily - and then all is consumed and obliterated by the blazing lava. scramble over to Short Round who jumps off the platform and they follow him across the altar. Indy sees Mola Ram quickly collecting the sacred Sankara Stones. Indiana rushes over and spins Mola Ram around - He slugs the High Priest in the face and Mola Ram keels over backwards against the statue of Kali. Short Round helps stuff the Sankara Stones into Indiana's shoulder bag.", "INT. THE REAR CHAMBER Short Round, Willie and Indiana rush across the chamber behind the altar. They run over to the ladder and start climbing down into the mines.", "INT. THE MINES Willie follows Short Round. Indiana jumps down last and pulls the ladder away, letting it crash to the floor so they wo n't be followed. They draw the attention of the slave children working in the tun - nels around the cavern. But it's the sight of the approaching guard that worries Indy - INDIANA Come on, quick! They duck into one of the tunnels. As they hide, Indy watches the guard passing. WILLIE What're we going to do? Indiana looks around at the silent, frightened children who've stopped working in the tunnel and his anger darkens - INDIANA We're going to get them out of here -! Then he looks at the bag holding the Sankara Stones and grows still more determined - INDIANA -LRB- Cont'd. -RRB- And then we're going to get these out of here -! -LRB- seething. -RRB- And somehow I'm going to see this place destroyed.", "INT. THE CAVERN - MOMENTS LATER A gaurd passing hears a voice and stops - INDIANA -LRB- O.S. -RRB- Ah, sir? Excuse me - The guard turns and looks amazed to see Indy smiling at him from the mouth of the tunnel. INDIANA -LRB- Cont'd. -RRB- Listen, I'm from the union and I'd like to talk about the working conditions here. Could you step inside a minute? Indy smiles again and disappears into the tunnel. In astonished rage, the guard draws his sword and goes after Indy into the tun - nel - there's a pause and then we hear the guard yell!", "INT. THE TUNNEL Willie flattens against the wall as Indiana catapaults the big guard past her back into the mine where he's set upon bu a horde of rebellious slave children. The kids swarm over the guard like jackalas and we see Short Round pull a key from the struggling guard's robe. MONTAGE - THE MINES A key is twisted and the chains are pulled from kids' legs. Elsewhere, more chains are unlocked and rattle free. Liberated kids spill out of the tunnels. A guard is tripped and attacked by a horde of ex - slaves. In another location, kids wrap captured guards in layers of chains. High up on a ledge, a fleeing gaurd skids to a stop when he sees kids charging at him. He sees more kids rushing from behind him. The guard scrams as he dives off the ledge. -LRB- END MONTAGE -RRB-", "INT. BEHIND THE ALTAR - DAY Freed children scramble up numerous ladders to escape the mines below. They follow the mass of children moving toward the front altar.", "INT. THE ALTAR On the altar, under the statue of Kali, Willie and Short Round are helping Indy and some of the bigger children rip down a long wooden panel decorated with hideous Kali figures. The childrens' escape is blocked by the chasm separating the altar from the deserted sorshippers' area of the temple. The swelling crowds of children push and teeter dangerously on the edge of the fire pit. Indiana and the others carry the wooden panel through the crowd toward the chasm. They stand it up and when Indy gives thw word they drop it - The panel crashes across the chasm forming a plank across which the children now begin running to safety.", "INT. BEHIND THE ALTAR The last of the children scramble up the ladders and run toward the front of the altar.", "INT. THE ALTAR The childrens' bare feet stomp across the wooden plank - below them the lava of the fire pit bubbles and shows outbursts of flame. Indy stares at the plank and sees that it's starting to smoke from the intese heat rising up. On the far side of the plank, the children safely across scatter through the deserted temple toward freedom. Willie and Short Round help the last kids out onto the plank - Indy sees one child's foot break though the smoldering wood - the kid in front pulls the child to safety. Willie and Short Round start to go out onto the plank but Indy shouts at them - INDIANA No, wait! He runs over and pulls them aside - he steps out onto the plank and takes a few steps to test it - suddenly the plank bursts into flame in the middle. Indy takes one more step - and then the plank breaks! Indy dives back to the ledge of the altar and Willie and Short Round grab him and pull him up and the wooden plank plummets into the fiery chasm. WILLIE What're we going to do?! INDIANA There's got to be another way out.", "INT. A TUNNEL Indiana, Willie and Short Round run through the deserted mine tunnels. They hear a rumbling noise and Indy leads them down a side tunnel. They stop and peer into a quarry.", "INT. THE QUARRY CAVERN A large cavern is the depository for the mine cars rolling in with loads of rock. Emaciated children -LRB- still unaware of the re - volt and the other childrens' escape -RRB- break their backs shoving the heavily - loaded mine cars. Thuggee guards supervise the deadening work, while others oper - ate the pulley - and - hoist system used to drag the cars up the sloped dump ramp. Behind this operation, a thunderous waterfall cascades into a huge cistern. From there, chutes deply the rushing water to power the large conveyor belt below it. As the cars rise up the ramp, they tip and spill rocks onto the conveyor belt which carries them toward an awesome stone cylinder that rolls relentlessly, crushing the rocks into sand. From the side tunnel, Indiana watches the noisy operation. INDIANA Those empty cars have got to go out of the mines. Willie and Short Round watch the children push the empty mine cars. The cars gain momentum and roll away down two dark tun - nels. INDIANA -LRB- Cont'd. -RRB- Come on, let's see if we can catch a ride. Tey duck out of the tunnel and run for cover behind a slag heap. Loaded mine cars roaring down from the mines hurtle past them and crash to a stop against the cars in front. INDIANA -LRB- Cont'd. -RRB- Okay, Shorty - go! He pushes Short Round who darts out after a mine car roars past and dodges across the tracks before the next one descends. Indy pushes Willie into position and holds her ready - WILLIE I ca n't! INDIANA Go! After another car crashes past, Indy shoves her. Willie runs out - her shoe gets stuck and she freezes in the tracks! Willie sees a rock - filled car blasting down out of a tunnel directly toward her! Indiana dives, knocking Willie safely to the ground on the other side of the tracks - the heavy car hurtles past and crashes into the cars in front. Indy pulls Willie behind a massive wooden post holding up the dump ramp and they hide from a passing gaurd. INDIANA We've got to get across to the empty cars. Wait here until I signal you. They watch him run and hurdle a pile of lumber, bound up three steps and duck behind a tool shack on the platform. Indy reaches out and grabs one of the passing slave children. They see Indy put his hand over the kid's mouth and whisper to him. He releases the kid who sneaks away, alerting the other children who start making their escapes into side tunnels. Now Indy motions to Short Rounds and Willie to follow. As they start to move out they freeze dead in their tracks and Indy motions again angrily - INDIANA Come on! Willie and Short Round see a guard coming up the steps on the other side of the platform. As the man rises he gets taller and taller - until they see it's a Thuggee giant coming up behind Indiana. INDIANA -LRB- Cont'd. -RRB- Come one, what's wrong? SHORT ROUND Behind you! Indiana turns and looks into the bare chest of the seven - foot tall guard. Indy has to look up to see the man's mean - looking face. INDIANA I see the problem. Indiana suddenly punches the giant in the stomach - the giant does not flinch, he just belches rudely. Indiana growls and winds up to take a killer swing - he steps back, cocks his arm - and suddenly turns and runs away. No dummy, Indy dashes over and picks up a piece of wood. The giant starts toward him. Indy drops the wood and looks around for a much larger piece of wood. As the giant stalks toward him, Indiana raises the large piece of lumber - Indy suddenly groans, drops the wood and clutches his stomach. Willie and Short Round looks startled - WILLIE What happened? Short Round shakes his head. They see Indy recover from the spasm as the giant rushes him. Indy jumps aside, landing on a loaded mine car that is passing by. The car is being dragged up the dump ramp and the giant jumps out onto it after Indiana. Indy quickly grabs a rock and, as the giant rushes him, Indy smashes the rock against the big man's skull! Unfortunately, it's the rock that shatters and not the skull. Indy dives to the other end of the mine car and lifts a large boulder. Suddenly Indy drops the boulder and grabs him arm, feeling a shooting pain again. Then he yells as he feels yet another stab - bing pain in his left leg. WILLIE What's wrong with him? Shorty is convused and worried - and then he sees something! He looks up and there on a rock - cut balcony over the cavern is the little Maharajah! The little prince clutches the clay krtya doll that represents Indy. He jabs it in the leg with a long sapphire - tipped turban pin. On the mine car, Indy yells and grabs his right leg, which collapses beneath him. Short Round takes off. He dashes under the platform toward a bucket - chain carrying spent water back up to the cistern. Short Round leaps over the pool of water and grabs onto a bucket. He rises up on this make - shift elevator toward the rock balcony and the malicious little Maharajah. Meanwhile, Indy is on the brink of unconsciousness as the giant's massive hands throttle his neck. Indy's head hangs over the end of the mine car and suddenly his eyes widen - The car with Indy and the giant reaches the peak of the dump ramp and its upended - spilling both of them and a shower of rocks down the conveyor belt! Down below, Willie dodges wooden pillars and weaves around quarry equipment, trying to follow Indy's battle with the giant. She trips and swears angrily - Willie pushes and empty mine car out of her way - an empty mine car! She runs back and starts shoving the mine car along the rails toward the conveyor belt. WILLIE I got one! Indy, I got one! Near the waterfall, Short Round ascends on the rising bucket chain. Up on the balcony, the little Maharajah chuckles evilly as he watches Indiana on the conveyor belt - The Maharajah lifts the clay doll and viciously jabs the pin in the back of it! On te conveyor, Indiana gets to his feet and then yells as a stabbing pain lacerates his back! He falls and writhed helpless - ly as the giant staggers up the rocky conveyor belt toward him. Willie shoves the mine car forward. She sees Indy's desperate situation as he's pulled along the conveyor toward the rock crusher! WILLIE Indy, look out! She looks up and sees Short Round leap from the bucket - chain onto the balcony. The little Maharajah's eyes glow fiendishly as he lifts the clay doll - and jabs the pin into the doll's face. On the conveyor belt, Indy yells agonizingly and clutches his stabbed face! Behind him, rocks explode as they're crushed and pulverized by the mammoth roller. In front of Indy, the Thuggee giant grabs a pick - axe as the con - veyor slides past a tool bin. The giant approaches Indy with it. Short Round dashes across the balcny and tackles the Maharajah. They fall and fight like mortal enemies. Short Round sees the little Maharajah's eyes glowing as he punches him in the face. Only a few feet away from the rock - smashing roller, Indy is still on his back on the conveyor belt, thrashing in pain, feeling the Maharajah's pin piercing his face. The giant raises the pick - axe above his head and it about to split Indiana in two! On the balcony, the Maharajah drops the doll and Short Round dives for it - he grabs the clay doll and pulls out the pin! On the conveyor belt, Indiana is suddenly released from the and looks up to see the giant swinging the pick - axe. Indy rolls aside at the last minute! The pick - axe cleaves into the conveyor belt and the giant lurches forward - Indy gives him a helpful kick, sending the giant flying toward the rock - crusher as Indy jumps off the conveyor belt! Seeing the huge roller looming in front of him, the giant crawls desperately against the movement of the conveyor belt - but he gets snagged! The sash around his waist gets caught under the rolling cursher and he's dragged back under it feet first. The Thuggee giant screams hideously as his body is rolled over and squashed by the enormous stone wheel! On the balcony, Short Round is jabbing the pin into the squirming little Maharajah. The little pricne's eyes still glow yellow as he hollers - SHORT ROUND How you like bing pin cushion, Mr. Rajah - ha - ha? The little prince rolls on the ground and tries to fight off Short Round who keeps jabbing him - suddenly the Maharajah swings and the pin is accidentally rammed clear through his hand! Shorty sees the pin sticking through both sides of the kid's hand. The Maharajah stares at his pierced hand, gasping in astonishment. Short Round notices the yellow glow dying out of the Maharajah's eyes - just as Indy's eyes cleared after he was released from Kali's trance. MAHARAJAH Please - pull it out! Short Round yanks the pin out of the little prince's hand. The Maharajah looks like he's jsut awakened from a bag dream. SHORT ROUND It was the black sleep of Kali. MAHARAJAH They made me do evil things. may lord Krishna forgive me. Meanwhile, Indy runs along the catwalk above the conveyor belt. He jumps and grabs onto a cross - bard - he kicks out with his feet and knocks a quarry guard off the catwalk. The guard flies through the air and topples into the sand pit where he thrashes around blindly under the sand falling from the crusher. Across the cavern, Willie shoves the rolling mine car toward the balcony. WILLIE Get down here, Shorty! I got us a ride! Willie shirls as another quarry guard rushes toward her. She yanks the iron brake - handle off the mine car and holds it threat - eningly like a baseball bat - WILLIE -LRB- Cont'd. -RRB- Come on, let's see hoe hand your head is! Up on the rock balcony, Short Round lowers himself over the edge. The little Maharajah grabs his arm - MAHARAJAH Please - listen - to go out you must take the left tunnel. Shorty looks at him and he knows he's telling the truth. SHORT ROUND Thanks pal. MAHARAJAH I'm going to try to find the English soldiers. SHORT ROUND Good luck. Short Round slips over the edge and slides down a wet stalactite to the floor of the cavern. There he finds Willie swinging the brake - handle and smashing the guard in the gut. The man doubles in pain - Willie kicks his putt and he splashes into the pool of water. WILLIE I do n't appreciate being cooked like a french fry! SHORT ROUND Willie, come on! Willie starts pushing the empty mine car with Short Round. SHORT ROUND -LRB- Cont'd. -RRB- You do pretty good for a girl! Across the quarry, Mola Ram and six temple guards run out onto a high platform next to the waterfall. Mola Ram sees Willie and Short Round pushing the mine cat. Mola Ram shouts to his men - two of them pull pistols and open fire! Bullets ricochet off the mine car and Short Round shoves Willie to the far side of the car where they both take cover. Meanwhile, up on a catwalk, a guard slices a sword through the air and Indiana ducks! The sword slashes into a wooden railing and the guard tries frantically to pull it out - Indiana slams kis knee up into the guard's stomach and then smashes his fist down on his neck - the man collapses. Indy hears more gunfire. Indiana rushes along the catwalk toward the platform above. He edges against the wall below the platform, staying out of sight as he unfurls his whip. One of Mola Ram's guards fires again from the high platform and Indiana lashes the whip - the whip wraps around the gunman's arm and Indy yanks on it - The gunman topples through the air and crashes down onto the cat - walk. Indy grabs the gun. He kicks the guard off the catwalk and the man falls into the waterfall pool. As the other guards fire down at him, Indiana dodges along the catwalk and fires back at them. A bullet explodes near Mola Ram and he ducks back - Meanwhile, Short Round and Willie have the mine car rolling and they jump into it - SHORT ROUND Indy! Hurry! Indiana spots the rolling mine car racing across the quarry. Indy takes off and runs along the catwalk - bullets explode around him, splintering wood. Indy reaches the end of the catwalk - Suddenly he dives into the air and catches hold of a block and tacke! Indy skids along the pulley system, sliding down a cable toward the mine car in which Short Round and Willie are riding. Bullets whiz past as Indiana sails in the air above the speeding mine car - when they are in sync, Indy lets go and drops into the mine car next to Willie and Short Round! Mola Ram rushes forward and watches the speeding mine car rolling down the track toward the tunnels - MOLA RAM They've stolen the Sankara Stones - they must be stopped! In the speeding mine car, Indy sees the tracks separating in two directions - one back into the quarry, the other toward two tun - nels that lead out of the mines. Indiana lifts a shovel from the floor of the car and swings it just in time - he hits a switch which CLANGS as they speed by and the car is shunted tipsy - turvy onto the track toward the two tunnels. Willie hangs on as the car tears down the track toward the tunnel on the right - and Short Round looks worried - SHORT ROUND No, Indy, it's left tunnel. But it's too late and they all hold on as the mine car shoots donw into the darkness of the echoing tunnel.", "INT. THE TUNNEL The wind rushes past Indiana as the car descends into the tunnel and picks up speed. Willie hangs on with Short Round - the mine car roars around a curve and flies fater along the rails.", "INT. THE QUARRY Back in the quarry, Mola Ram supervises the guards as they shove empty cars toward the tunnel. Carrying long Khyber rifles, they jump aboard the cars. The first one rolls into the dark tunnel and the second car speeds after it.", "INT. THE TUNNEL ENTRANCE The two Thuggee cars shoot past, descending into the darkness in pursuit of the infidels who stole the Sankara Stones.", "INT. THE TUNNEL The mine car hurtles past. Indy sits in front, pulling back on the brake - lever to control their speed and keep them from careen - ing off the tracks. Expecting trouble, Short Round peers over the back end of the car. Willie ducks low, watching the heavy beams flashing danger - ously close above their heads. Then Willie's eyes go wide and she groans in terror like a girl on a roller coaster as the mine car suddenly plunges downward, taking their stomachs with it. A gunshot rings out and Short Round sees the first Thuggee car appear around a curve behind them. Mola Ram's gunmen start blasting. Bullets ricochet off the mine car and Indy yells back to Short Round. INDIANA Come here and take the brake! Short ROund scurries forward and grabs the brake from Indy. INDIANA -LRB- Cont'd. -RRB- Slow on the curves or we'll fly off the tracks! SHORT ROUND Read you loud and clear, Indy! Short Round grins as he holds the brake - Willie realized that this is Shorty's idea of a good time!", "INT. THE CAVERN Up in the quarry, gunmen push a third car toward the tunnel, but Mola Ram stops them. He shouts and they turn and look instead toward the waterfall and huge cistern.", "INT. THE TUNNEL Indiana is crouched in the back of the zooming mine bar blasting away with the pistol he captured in the quarry. A gunman in the car behind returns his fire, the explosions lighting up the tunnle walls. Indy aims and fires again - the gunman is hit and knocked back in the car. Another guard with a Khyber rifle moves up to the front and starts firing. Meanwhile, as the car goes into a hard turn, Short Round rides the brake - beneath the car we see the brake - pad scraping on the metal wheel. The tunnel gets lower and Indy has to duck under each beam flying over and can only pop up to fire between the low beams. The rifleman in the car behind is relading. Then he lifts his rifle - Indy pops up simultaneously and shoots! The gunman is hit, his rifle flies up and his head smashes against the beam hurtling above! Screaming horribly, the gunman is knocked from the speeding car like a broken doll.", "INT. THE CAVERN Up in the quarry, Mola Ram's men swing sledge hammers, bashing away at the rock supports under the huge water - filled cistern.", "INT. THE TUNNEL Indiana runs out of bullets. He sees the car behind getting closer. He tosses the pistol and hits a Thuggee in the head. Another Thuggee retrieves Indy's pistol and starts reloading it. Suddenly Indy is being shot at by his own gun and he yells to Short Round INDIANA Let up on the brake! SHORT ROUND What?! Indy shoves past Willie and takes the brake level from Shorty. INDIANA Let her go! Our only chance is outrunning them! WILLIE What above the curves?! Short Round looks scared as Indy released the brake and the car hurtles toward a curve. They grab the sides of the car as it tips precariously. Behind them, the curve throws the gunmen from side to side in the car following. SHORT ROUND Indy, look out! A sharper curve looms ahead and Indy shoves the brake completely off! WILLIE What're you doing?! We're going too fast! Willie closes her eyes as they rocket toward the curve. In the car behind, the Thugge guard at the brake also shoves the brake off - and looks extremely worried. Indy's car hits the curve and the centrifugal force lifts the in - side wheels off the rails! INDIANA Get over on the other side! Willie and Short Round jumps over to his side as the car whips around the curve! Indy looks back and sees the car pursuing them is also taking the curve at full speed - Suddenly the Thuggee car swereves dangerously, the weight shifts too much to the outside - and the car derails! The car bounces off the tracks and flies through the air into a siding where is CRASHES against a stone wall in an EXPLOSION of rock and metal! Pieces of debris pommel the drive of the second Thuggee car and he quickly grabs for the brake to slow down and avoid the same fate! In the lead car, Indy smiles smugly as Willie opens her eyes. INDIANA One down, one to go!", "INT. THE CAVERN ABOVE Mola Ram's guards continue to bash away with sledge hammers at the rock supports under the mammoth cistern. One of the supports starts to crumble - From above, we see the cistern list to one side and water laps dangerously over the edge as the huge tank creaks and sawsy.", "INT. THE TUNNEL Indiana and Short Round heft a railroad tie out of th bottom of the car and Willie watches them lift it onto the back - As gunfire continues to explode from the car behind them, Indiana and Short ROund shove the railroad tie off the back of the car - The wooden railroad tie falls and bounces back across the tracks. The gunmen in the car behind spit it and yell in panic - Indy and Willie watch the car behind crash into the railroad tie - but the tie just skids, catches and bounces up and out of the way like a huge tumbling matchstick! WILLIE Anymore ideas? INDIANA Yeah - this time you're gon na help!", "INT. THE CAVERN The sledgehammers continue - until two of the rock supports give way! There are shouts as the guards run for cover. Mola Ram stands on a platform watching the huge cistern slowly keel over - the noise is incredible as the colossal tank crashes to the ground! Suddenly a half - million gallons of water explode across the cav - cern and surge in a tidal wave toward the tunnels!", "INT. THE TUNNEL The walls of the tunnel flash past and curves appear suddenly out of the darkness as the hair - raising chase continues - Short Round and Willie struggle to help Indy lift a large boulder from the bottom of the speeding mine car. The cars descend again into a stretch of much lower tunnel where the beams flash past inches above them. Indy judges the beams - INDIANA Okay - one - two - NOW! All three of them groan as they raise the boulder and shove it off the back of the car - ducking instantly to avoid being de - capitated by the next beam! Looking back, they see the gunmen pop up between the beams - and they see the looks of terror on the gunmen's faces as they see the boulder in front of them! The Thuggee car hits the boulder and upends! The guards scream horribly as the car tumbles end over end, slamming against the tunnel walls, getting ripped to shreds so that finally only pieces of metal, wheels and debris fly like a meteorite shower down the tunnel! Willie whoops for joy and hugs Indy who smiles modestly - INDIANA Okay, Shorty, hit the brakes! Short Round dives for the front of the car and ahppily pulls the brake lever - it does n't work! Short Round yanks on it harder - the brake level suddenly breaks off! SHORT ROUND Indy! Indy sees Short Round holding up the broken brake lever! Indy crawls quickly toward Shorty while Willie holds on for dear life! Completely out of control, the car hurtles down a decline into a section where the tunnel if larger again - Indiana bends over the front of the car and looks underneath. He sees the brake tension hanging loose from the brake - pad. Indiana pulls himself back up and looks at Willie and Short Round. INDIANA Grab onto me - I'm going to try and slow us down from underneath! Willie looks terrified but helps Short Round grab onto Indy's arm and the back of his jacket. He skips over the front of the car and swings a leg underneath - Indy is inches above the rails and the rocky ground blurring be - neath the car as he tries to kick at the brake - pad. His feet fall and he bumps along, dragged dangerously for a moment - Indy manages to find a foothold on the undercarriage of the car. As they hold onto him, Indy kicks again and his foot hits the brake - pad. He shoves it and slowly the pad closes against the spinning wheel. WILLIE Oh no! Willie and Short Round look up and see that the tunnel is ending ahead and the track dead - ends into a stone wall! INDIANA What's wrong? He looks around - and sees the car rocketing directly toward the stone wall! Indy's foot starts kicking in high - gear underneath the car - he slams at the brake - pad with all his strength - the pad screeches against the spinning wheeel and starts sparking! The car seems to slow as it shoots toward the end of the tunnel. Indy groans and pushes hard against the smoking brake - pad. The car slows more and more until it runs down the last few yards to the dead - end and rolls gently to a stop, just nudgeing Indy's back against the wall. INDIANA Ouch. Willie looks faint as Indiana gets to his feet and Shorty jumps out of the car. They help Willie out and she stands shakily - WILLIE I'm okay - I'm fine - I love to flirt with death. Indiana sees that the tunnel ahead continues without any more tracks. Then they hear something - A strange rumbling sound echoing down the tunnel from behind them. The walls seem to reverberate. Looking worried, they start walking away down the tunnel. They walk faster as the noise behind them becomes louder and they keep glancing over their shoulders - WILLIE What's that? Indy?! Indiana is n't sure and he pulls Willie by the arm and all three of them start jogging. The rumbling behind them sounds increasingly ominous and finally they start running full tilt. They rush down the tunnel and the awful noise becomes defening! Willie looks around again and slows suddenly - Willie stops dead in her tracks - paralyzed - awestruck - DOOMED! Willie sees a monster wall of water -LRB- released from the quarry -RRB- as it thunders around a curver - a mammoth tidal wave crashing spec - tacularly against the opposite tunnel wall! A veritable `` tsunami'' caroming off the tunnel wall and spewing furiously forward like a hydrous Juggernaut! WILLIE -LRB- frozen in her tracks. -RRB- Oh. shit. Indiana and Short Round notice that Willie's sloed and they stop running - they also see the cataclysm of water crashing down the tunnel toward them. Indy runs back and grabs Willie. All three of them take off, running faster than they've ever run in their lives! The tidal wave smashes forward, booming behind them and Indiana realizes quickly that they're going to lose this race. Suddenly he sees a small side - tunnel in a bend ahead - INDIANA There! Dive! They lunge toward the hole and Short Round dives in it first. Indiana shoves Willie into the hole and jumps in after her just as the colossal tidal wave explodes past!", "INT. THE CHUTE The small tunnel drops precipitously and they slide down, shower - ed by the small side - current of water that's broken off from the main force.", "INT. A LARGE TUNNEL They rolls and tumble out of the small chute into a larger tunnel. The roar of the tidal wave sounds distant and receding as they catch their breath. INDIANA Lucky I found a short cut. Look, there's a light at the end of the tunnel. Suddenly an EXPLOSION! They turn and see the thundering tidal wave crashing around a curve and cascading down the tunnel behind them again! WILLIE Some short cut! They all holler in unison and start running like bats out of hell toward the daylight. The towering wall of water surges relent - lessley after them - The tidal wave looms up to annihilate them as they race to the mouth of the tunnel - and Willie SCREAMS! Indy grabs her and all three of the flail their arms to keep from losing their bal - ance!", "EXT. THE TUNNEL EXIT - DAY The tunnel exits midway up a cliff and the three totter precari - ously on the brink looking down at a 300 foot sheer drop to a gorge below! Indiana swings Willie onto a narrow ledge on one side and pushes Short Round after her - he jumps himself to the other side just as the tidal wave crashes past them! The water bursts out of the tunnel - the gusher spews forth from the cliffside into the air as if Hoover Dam just broke lose! Short Round and Willie balance on the narrow ledge on one side of the geyser - Indy is perches on the ledge on the other side of the incredible eruption of water. Willie gets vertigo looking down into the gorge where the water crashes at the bottom. There crocodiles are disturbed and slither angrily. Indy looks up and sees a rope bridge swinging about twenty feet above Willie and Short Round. Indy shouts across the blasting water - INDIANA Willie - the bridge! Climb up to the bridge! Willie looks frightened. SHORT ROUND Nothing to it - follow me! He edges along the narrow ledge toward the bridge and Willie follows him. Once under the bridge, they start climbing up the rocks to it. Meanwhile, Indiana is scaling the cliff face to get over the water geyser to the other side. He grabs at scrub brush and finds a few perilous footholds as he makes his way to the bridge.", "EXT. THE ROPE BRIDGE Willie and Short Round pull themselves up at the end of the bridge. Behind them a dark tunnel runs back into the mines. What's in front of them is hardly more reassuring - The rope bridge across the gorge is a century old and defintely was n't built by army engineers. Laying across the two bottom rope - spans, worm - eaten and moldy boards offer risky footings. Vertical side ropes connect the bottom rope - spans to the two up - per ropes that constitute the dangerous hand - railings. Short Round steps tentatively out onto the bridge. It holds him and he turns and smiles at Willie - SHORT ROUND Easy like pie! Kid's stuff! Suddenly the board under him breaks! Willie grabs Short Round before he falls into the abyss! Looking pale and less cocky, Short Round starts out again and Willie follows his carefully. They continue stepping across the bridge cautiously, a feat made more difficult by the bridge's constant swaying and the hear - stopping up and down movement. Behind them, Indy finally pulls himself up from under the bridge. He stands up and sees Willie and Short Round halfway across already. Then he hears something and turns quickly - he takes his whip out and ducks to the side of the tunnel as two Thuggee guards rush out. Indy cracks the whip, catching the first guard around the neck - the guard spills forward and trips the second guard. The first man tries to stand but Indiana kicks him in the head. The second guard gets to his feet and seings his sword - Indy ducks, slams him in the stomach and dives for the first guard's sword. He grabs it and rolls aside quickly as the second gaurd attempts to slice him in two! Indy gets to his feet and immediately finds himself about to en - gage in a sword duel with the enraged Thuggee guard. Indy looks at the unfamiliar sword, hefts it, and tries to quickly decide the best way to use it - Suddenly the guard shouts and charges. Indy decides shouting must be the `` de rigueur'' technique and shouts back loudly - the two swords CLANG and spark as the duel erupts. Indy flails and feints and the Thuggee guard lunges and slashes. Indy finally gains the upper hand and dispatches the Thuggee guard who slumps defeated into the dirt. Keeping the sword, Indy starts out onto the bridge, walking as quickly as possible across the rickety span. He hears shouting ahead and looks worried then temple guards appear at the far end of the bridge. The guards suprise Willie and Shorty as they finally get across the bridge. Struggling futilely with the guards, Willie shouts at Indiana - WILLIE Indy - looks out behind you! Indy sees more Thuggee guards rushing out of the tunnel behind him. He turns and sees two of the tmeple guards who captured Willie and Short Round coming across the bridge in front of him. Indy stands helpless in the middle of the swaying bridge with guards approaching from both sides, and nothing but heaven above and the rocky gorge hundreds of feet below! A wind comes up and the High Priest, Mola Ram, appears on the far end of the bridge. He stands with the guards who hold Willie and Short Round. The wind whips around Indy and he staggers unsteadily on the swaying bridge as he watches Mola Ram - INDIANA Let my friends go! Mola Ram shouts in Hindi and the guards start to move toward Indy from both sides of the bridge. INDIANA -LRB- Cont'd. -RRB- That's far enough! MOLA RAM You are in no position to give orders, Dr. Jones. Indiana indicates the bag over his shoulder - INDIANA You want the stones, let them go and call off your guards! Mola Ram motions and the guards move farther out on both sides of the bridge - suddenly Indiana swings the sword and it cuts into one of the bottom rope - spans! The rope is half - severed and frays slowly under the tension! MOLA RAM Impressive, Dr. Jones. But I do n't believe you would kill yourself! Mola Ram motions again the his guards -LRB- looking more nervous now -RRB- step farther out onto the bridge, mvoing closer to Indy from both sides. Indy swings the sword again, cutting into the other rope - span! It, too, is now partially severed and frays slowly. The bridge jolts and Indy and the guards sway precariously! Suddenly Mola Ram shoves Short Round out onto the bridge. The High Priest draws a dagger and pushes Willie onto the swaying span, holding the knife behind them both. MOLA RAM -LRB- Cont'd. -RRB- Your friends will die with you! In different times this would be called a Mexican stand - off Indiana looks at the guards in front and behind him. He sees Willie and Short Round out on the bridge now with Mola Ram at their backs. INDIANA Then I guess we're all going to take a big dive! Indy and Short Round's eyes meet - and the kid realizes that his hero is n't kidding. Willie looks at Shout Round anxiously - she notices that Shorty is surreptitiously wrapping his foot around a rope support. Petrified, Willie also secretly wraps her foot around a rope and does likewise with her arm - MOLA RAM Give me the stones! INDIANA Mola Ram - you're about to meet Kali - in Hell! Indiana swings the sword with all his might - it whooshes through the air and slashes clear through the top and bottom ropes -! Immediately Mola Ram's guards start to flee in panic - too late! Indiana swings the sword again and the two ropes on the other side are severed - The rope bridge is sheared in two! It breaks in the middle and both halves fall apart! The guards scream horribly in the air as they plunge down into the rocky gorge! Willie and Short Round cling to their established footholds and fall with the bridge toward the wall of the gorge. Mola Ram spills forward, clutching desperately at the ropes and slats - Below them, Indiana has latched onto a rope and swings with the bridge as it hits the gorge wall and hangs vertically now, dang - ling from its moorings at the top. There's an instant of suspended animation as all who remain alive realize they are alive. Short Round and Willie cling near the top of the now vertical bridge. Below them, Mola Ram clutches onto one of the main ropes while directly above him the last of his guards holds on for dear life. Short Round and Willie struggle upwards, clutching ropes and stepping on slats. Finally, Short Round heaves himself up onto solid ground and turns to help Willie up. Meanwhile, dangling below on the bridge, Indy reaches up and grabs Mola Ram's leg. The High Priest kicks and tries to break Indy's grip. He kicks again and smashes Indy in the face. Indy wo n't let go. Suddenly the High Priest reaches up and grabs his own Thuggee guard and yanks his down by the front of his shirt - Mola Ram shoves the luckless guard down onto Indy, trying to dislodge him by sacrificing the screaming Thuggee. Indy manages to hang on. The Thuggee is less fortunate and falls screaming to his death. Then Mola Ram looks across the gorge and yells. Indy sees a dozen of the last Thuggee guards streaming out of the tunnel - only to be stranded on the far side of the now bridgeless gorge. Indy starts climbing up after Mola Ram again. He grabs at the back of Mola Ram's robe and pull him down. Slipping, Mola Ram turns and it's Indy's chance to punch Mola Ram in the face. Mola Ram's eyes are glowing yellow and he's shouting incoherent - ly. He grabs the strap of Indy's shoulder bag and stamps on In - dy's hand - Indy falls! Indiana slips downward, scrambling to catch hols of something - meanwhile, Mola Ram now has the bag with the Sankara Stones. Indy finally stops his downward slide and dangles dangerously near the bottom of the bridge. Across the gorge, the Thuggee guards run up a path to a small gove of trees growing on a plateau above the gorge. The guards have bows and arrows and take firing positions - At the top of the bridge, Mola Ram keeps climbing until rocks start poundinghim from above - Willie and Short Round pely him with rocks which he tries to block with his arm. Indiana starts to climb again, using all his strength. He reaches for a wooden slat - suddenly a flaming arrow smashes into the wood! Indy turns in amazement and sees more flaming arrows rocketing across the chasm directy for him! Across the gorge, by the grove of trees, a Thuggee priest yells orders to the archers who continue to launch the flaming arrows. Indiana crawls up as the bridge starts to burn from the continu - ing bursts of fiery arrows. At the top, Mola Ram reaches up des - perately for a hand old - Willie smashes his hand with a rock! The High Priest yells in pain and slips down to where Indy slugs him again in the face! They struggle as the fire burns up from beneath them. On the cliff above the fallen bridge, Willie watches the fire rising toward Indy and Mola Ram as they fight. Short Round turns and sees something - SHORT ROUND Willie, look! They see horses galloping through a narrow pass - the British cavalry is returning. Captain Blumburtt and the first troops draw up their forses and dismount quickly. A fussilade of flaming arrows force the British to take cover - they quickly start firing back at the Thuggees with rifles. As the battle above the gorge continues, Indy and Mola Ram fight below on the dangling bridge - Indiana sees the High Priest's eyes begin glowing and he hisses insanely. Mola Ram's hand thrusts out toward Indiana's chest and Indy yells in pain - Indy looks down and writhes terrified as he sees Mola Ram's hand starting to enter his chest -LRB- as it entered the victim's chest during the temple sacrifice -RRB-! Mola Ram's finger are inching into Indy's body - Indy clutches at Mola Ram's piercing hand, trying to keep the deadly fingers away from his heart. Slowly, Indy is able to push Mola Ram's hand away and his fingers withdraw from Indy's chest. Indiana suddenly slugs the High Priest in the face and grabs for the bag of Sankara Stones - MOLA RAM No, the stones are mine! INDIANA You're betrayed Shiva. * -LRB- He re - peats in Sanskrit Sankara's warn - ing. -RRB- As Indy pronounces the magical words, the bag begins glowing and starts to burn Mola Ram as he clutches it - the stones begin to spill out of the bag and the High Priest grabs from them. INDIANA -LRB- Cont'd. -RRB- * -LRB- He repeats Sankara's warning in Sanskrit. -RRB- The blazing stones sear Mola Ram's flesh and he screams in pain. The light suddenly dies in his eyes and for one instant he looks at Indy as if awakened from a nightmare - Mola Ram loses his balance and Indy grabs for the stones. He manages to clutch only one of them as Mola Ram screams and falls! Indy sees the stone in his hand suddenly cool. He watches Mola Ram plummeting downward into the chasm and finally crashing into the jagged rocks at the bottom. The irritated crocodiles are disturbed once more - but soon wel - come the meal that just dropped in. Jaws flash and teeth rip at the High Priest's likeless corpse. And Indy's bag with the Sankara Stones sinks into the murkly cur - rent and disappears down the river.", "EXT. THE CLIFF Indiana crawls up the burning bridge and Willie and Short Round reach for him at the top. They pull him up onto the cliff and they all look around exhausted - Across the gorge, more British troops emerge from the mine tun - nels to subdue the remaining Thuggee guards on that side. Finally the little Maharajah comes out of the dark mine tunnel. He sees Short Round across the gorge - and bows to thank him for his help. On the other side, Short Round waves his cap, saluting him back. Willie stands at the edge of the gorge looking down into the riv - er far below. WILLIE I guess Mola Ram got what he wanted. INDIANA Not quite. She sees Indy reach into his pocket. He pulls something out slowly - as she watches he reveals a crystal stone - INDIANA -LRB- Cont'd. -RRB- The last Sankara Stone. Short Round watches Willie take it carefully from Indiana. She gazes at it and looks delighted - WILLIE And the diamond hidden inside. Willie holds the stone up to the sun and it sparkles and flashes CUT TO", "EXT. THE MAYAPORE HILLS - DAY The sun flares and silhouettes three figures coming over a hilltop. Behinf them we see more smaller silhouettes appearing over the rise. Indiana, Willie and Short Round walk back down the dirt road into Mayapore - followed by a multitude of children returning to their homeland. Willie looks at the changed landscape and seems astonished : the barren countryside has been reborn. They see streams flowing beneath green trees, flowers blooming and peasants harvesting golden grain in the fields.", "EXT. MAYAPORE VILLAGE Indiana, Willie and Short Round lead the children down the village road. Ahead they see villagers rebuilding their primi - tive dwellings. Now they hear shouts of joy from the peasants. The children returning home start running to meet their parents who are rush - ing out to greet them. There is laughter and tears as families are reunited. Indiana sees the old shaman approaching with the chieftain and the village elders. The shaman touches his fingers to his forehead and bows. The three travelers return his greeting and the shaman is quite moved as he speaks to Indiana - SHAMAN We know you are coming back -. -LRB- indicating the countryside. -RRB- - when life returns to our village. WILLIE It's a real miracle. SHAMAN Now you see the magic of the `` rock'' you bring back. The old shaman smiles wisely at Indiana. Indy takes the stone out of his bag and unwraps it. INDIANA Yes, I've seen its power Willie watches the shaman take it reverently and bow to them. The shaman joins the elders and they walk to the village's small sacred mound. Indy and Willie stay back. They see him kneel and replace the stone in its niche. INDIANA The last Sankara Stone. WILLIE And they do n't even know what it really is. INDIANA -LRB- smiling at her. -RRB- Well, you did n't get your prince, and there goes your diamond. WILLIE You did n't do so well yourself. Finding that stone could've got - ten you all the fortune and glory you were talking about. INDIANA It's still a long way to Delhi. Who knows what might happen. She looks at him like he's crazy. WILLIE Oh no, I'm finding a native guide who knows the way. No more de - tours for me, thank you Dr. Jones. She turns and starts walking away continuing to complain - WILLIE -LRB- Cont'd. -RRB- If you think I'm going to Delhi or anyplace else with you, after all the trouble you've gotten me into. Suddenly the bullwhip CRACKS and wraps around her waist. Star - tled Willie looks angry as Indiana reels her in, pulling her to - ward him and into his arms. But when he finally kisses her, she does n't seem to mind at all. Short Round shakes his head, but looks sort of pleased. When he turns away, his face lights up! Short Round runs toward the sunset, toward the three elephants being brought back to the village. The baby elephant starts walking faster, as if he recognizes Short Round running out to meet him. THE END" ]

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[ "NIGHTBREED Scene 1. TITLE SEQUENCE Darkness. Then, a burst of sparks from a bowl held in a scaly hand. The light shows us a mural. We start to move along the wall. First we see stars and planets, painted in a primitive, stylized fashion on bare rock. A voice on the track speaks softly to us. VOICE We did not always live in hiding. We have come to the image of a huge family tree, which springs from a single seed but divides into two separate halves. On the left, ruled by the moon, the branches blossom into extraordinary creatures. On the right, by sunlight, the branches end in ordinary human beings. Upon the word Nightbreed the title comes up on the screen, against the image of a moon painted on the wall.", "EXT. REEDS NIGHT Cut to a real moon. Then cut wide to a moonlit landscape, through which the camera careens madly. The soundtrack, which was lush and almost sacred in the mural chamber, erupts into a tribal rhythm. We glimpse creatures in the darkness, moving through the reeds. They are barely more than silhouettes. We see teeth, and gleaming eyes ; glimpses of naked, patterned flesh. Only glimpses.", "INT. MURAL CHAMBER Cut back to the mural chamber. Now we have moved away from the tree to a more brutal scene. A symbolic representation of a great apocalyptic war between Naturals and Breed. Terrible scenes of destruction. VOICE But the Naturals made war on us. They feared us for our strength. They envied our powers. They called us monsters, killing us by whatever means their malice could invent, finding in each of us our particular vulnerability. We are scanning scenes of that war. A breed being staked like a vampire. Another being shot like a werewolf. Another exposed to sunlight. VOICE None of us was safe. The tribes of the moon dwindled. Our gods were slaughtered, our homes destroyed. It was the Apocalypse.", "EXT. NECROPOLIS WALL AND GATES Cut back to the landscape. The clouds roil above the heads of the creatures heading through the reeds. We see their destination now. A huge wall, with gates.", "INT. MURAL CHAMBER And back to the mural chamber, and a final scene. The gates we've just seen are in the painting. Looking over them, calling the Breed in, is a vast indistinct form : that of Baphomet. His eyes burn ; his arms are open in welcome. VOICE Only one of our Gods survived the holocaust. Baphomet. Wounded and near death, he summoned us, the last of the last, into hiding. Into Midian, where we wait now. The battle is over but not the war. There will come a saviour. Now we've moved beyond the image of the gate into a new patch of wall on which the pictures are only vague sketches. We can interpret some of the images nevertheless : a man with a bloody hole in the middle of his chest. A man wearing a mask like a skull. We linger on a faceless figure. VOICE His name is Cabal. He will lead and give us back the Night. We are the tribes of the moon. We are the Nightbreed. The titles end.", "EXT. NECROPOLIS WALL AND GATES Cut back to the landscape. Now we are at the gates, and the creatures slip through and away into the mist. Only one, a beautiful, ferocious female called Shuna Sassi remains, turning to look at us. She beckons. SHUNA Come. The camera retreats from her. SHUNA Will you not come? Now the last of the creatures, the Drummer, takes her by the arm, snatching her away through the gates. As she disappears, the camera follows again, stopping at the gates themselves, which close with an unearthly din.", "INT. LORI'S APARTMENT NIGHT C.U. on Boone, closed eyes. He is dreaming. His gaze roves beneath his lids. Lori's lips come into shot kissing first his eyes and then traveling down his face to his mouth. LORI Boone. wake up. Boone's eyes flicker open. LORI Hi. You OK? Boone : Yep. Now Boone's eyes are fully open. He sits up. Looks towards the open window. Night beyond. She kisses him, distracting him from the sight of the window. LORI You want something to eat? BOONE Sure. What time is it? LORI Nine - thirty. I was letting you doze. BOONE Thought you'd worn me out, huh? Lori smiles, and kisses him, then crosses the room to the kitchen area, picks up some fruit, and a knife, carrying both back to where Boone is lying on the bed. It is unmade. Both Lori and Boone are lightly dressed, clothes casually thrown on after an afternoon lovemaking. Lori : You know what? BOONE What? LORI We should get out of Calgary for a few days. Just take off. BOONE Anywhere special? LORI Somewhere we can be alone together. BOONE More alone than this? LORI Yeah. Just you and me. No work. No telephone calls. No. BOONE Bad dreams. LORI No bad dreams. BOONE How did you know? LORI I know. I always know. It's no big deal. BOONE I'm going around in some crazy loop in my head. LORI You're not crazy. BOONE No. LORI Say it like you mean it. BOONE I believe it. I'm not crazy. But I want this damn dream out of my head. He gets up and goes to the window. BOONE Decker's started calling me again. LORI When? BOONE All last week. Every day. LORI What does he want? BOONE I do n't know. I have n't called him back. LORI If he can help, see him. Tell him it's all gone but the bad dreams. BOONE They're not bad. That's what's weird. The more I have them the more I like them. Now I do sound like a crazy, right? LORI No. You sound like the man I love. A little haunted, maybe, but the sanest man I ever met. BOONE Keep going. LORI Will you see Decker? BOONE You think I should? LORI Where's the harm? You tell him from me, I'm the only thing you should be dreaming about. BOONE I do n't think he'd get it. He never had a wet dream in his life. LORI I do n't want to be competing with things I ca n't see, Boone. Ca n't share I do n't want to be always feeling that something's pulling at you. BOONE I'm not going anywhere, Lori. Except with you. LORI I ca n't hear that often enough. BOONE I'll never leave you. Not ever. I swear. He kisses her, passionately. BOONE Ca n't remember a time when I did n't love you. LORI How about before we met? BOONE Even then. They kiss again. We move past them into the darkness outside the window. Dissolve to the moon, clearing cloud.", "EXT. RICKMAN HOUSE NIGHT A pleasant house in a pleasant neighborhood. Lights burn inside.", "INT. RICKMAN HOUSE NIGHT Melissa Rickman emerges from the lounge, with a Dagwood sandwich, a work in progress. She is thirty - five, and going to seed in a gentle way. Her husband, Lou Rickman, a similar type, is planted in front of the television. MELISSA Okay, you want ham, cheese, pickle, mustard? LOU All of the above and a brewski, thank you. MELISSA You're getting porky, Lou. LOU -LRB- amiable - tried to grab her. -RRB- I'm comfortable. I like myself fat. I like you fat too. MELISSA -LRB- secretly amused - she hushes him. -RRB- Keep it down, Lou, you'll wake the munchkins. She hears something upstairs, goes to the foot of the stairs, looks up. Her eldest son, Lou Two, waddles into view. He's five. LOU TWO Mommy. MELISSA Sweetie, you're supposed to be beddy - bye. LOU TWO I heard something. MELISSA What did you hear? LOU TWO Bad man. MELISSA No, everything's okay. You go back to bed, munchkin, I'll be up to see you in a minute. LOU -LRB- V.O. -RRB- How's that sandwich coming? MELISSA Coming. Melissa disappears from the bottom of the stairs.", "INT. RICKMAN KITCHEN NIGHT Melissa enters, moves out of sight. We stay at the door. A figure appears dressed in black, knives in both hands, and crosses to leave the screen again. We do not see his face. But we hear his labours : the sound of the blades slicing Melissa. She staggers into view, grabbing hold of her slit throat. Blood bubbles between her fingers. The figure appears behind her. She turns, as the knife descends.", "INT. RICKMAN LOUNGE NIGHT Lou hears a sound, rises and moves towards the kitchen door. LOU Melissa? At the top of the stairs, Lou Two watches wide - eyed.", "INT. RICKMAN STAIRS NIGHT Lou Two's P.O.V. - We see blood running along the highway.", "INT. RICKMAN KITCHEN NIGHT Lou reaches the kitchen door and sees Melissa laid out, dead, on the kitchen table LOU Oh God - GOD! Lou enters, the figure emerges from behind him. While we remain at the door watching, detached, Lou fights back, throwing himself back and forth around the kitchen. But the figure is much stronger. We glimpse its face now, it is a mask, with a zipper for a mouth and buttons for eyes, blank. Devoid of compassion, hatred or regret. A death's head, made by a mad child. Atop the stairs, Lou Two listens. His baby sister cries in her cot. He looks her way then back downstairs. The sounds cease. Silence. Terror on his face. Then the child's perfect nightmare appears at the bottom of the stairs. The figure, heavy knife in hand, starts to climb, dragging Lou's bloody body after him by the hair.", "INT. BOONE'S APARTMENT NIGHT Empty. The phone rings. We move towards the answering machine, which clicks on. BOONE -LRB- on tape. -RRB- Hi. Please leave a message. LORI -LRB- thru phone. -RRB- Boone, pick up will you? Boone? Are you there? Boone? Okay, so do n't answer. See you tomorrow. G'night.", "EXT. RICKMAN HOUSE NIGHT Three patrol cars, an ambulance, policeman restraining a small crowd gathered outside. A n.d. sedan roars up, red bubble light flashing, and Inspector Joyce gets out and moves towards the house. He's greeted by the Medical Examiner, Dr Burton, just exiting, carrying a medical bag. BURTON -LRB- bitter. -RRB- Brace yourself, Inspector. JOYCE Same profile? BURTON Unmistakable. Does n't miss a trick. JOYCE -LRB- anguished. -RRB- Kids? Two kids? BURTON If it's any comfort, they went quickly. JOYCE Yeah. Makes me feel a whole lot better about the sick fuck. BURTON Find this guy, Joyce. They say these guys want to be caught. I think this one likes it too much. A rookie patrolman stands on the doorstep, on the verge of tears. JOYCE -LRB- gently. -RRB- Let's get these tourists back, Officer. POLICEMAN Yes sir. JOYCE -LRB- to Burton. -RRB- If we ca n't protect the kids, what the hell use are we?", "EXT. SUNRISE The sun climbs above the horizon, behind the cityscape of Calgary. Another day begins.", "INT. DR DECKER'S OFFICE DAY Close on a pile of tapes, marked with dates over a period of two years. They're on Decker's desk. DECKER I've been listening to the tapes of our sessions. All two years' worth. We move from the tapes to Decker, who gets up from his desk and moves around to the other side. Boone is sitting on the other side of the desk, his posture far from relaxed. He hates this room. As Decker moves, we take in the various pictures on the walls. Dance pictures, photographs of Decker with civic dignitaries, crippled children etc.. BOONE Why? DECKER Most of my colleagues would have walked away from a case like yours. The most they would have done was drug you. But you. you intrigued me. All the talk of monsters. And Midian. Remember Midian? BOONE That was n't me. I heard about Midian from other people. DECKER But you made it part of your private mythology. BOONE I suppose I did. It was a place of refuge. DECKER When you imagined yourself being taken off to this invented city, to Midian, what crimes were you going to be forgiven? Boone's looking uneasy now. He wipes sweat from his upper lip. BOONE You know what I used to dream. DECKER Yes. There's a remarkable consistency in the images you see. Great detail. Almost as though the violence was real. BOONE They were just bad dreams. Midian does n't exist. Monsters do n't exist. DECKER But murder does, Boone. Murder's very real. It may start in the mind, but it ends up changing to flesh and blood. He picks up the envelope we saw in his previous scene, and takes the photographs out. DECKER -LRB- cont. -RRB- Two days ago the police brought me some photographs. They wanted to know if I had any patients who might be capable of what's in these photographs. I'm going to show you them. Are you ready for that? Boone nods. Decker lays the photographs on the table. Boone picks them up. We get glimpses of what they contain. Domestic horrors. Bloody scenes of corpses caught by the camera in grotesque positions, sliced up and bleeding. Boone's breath quickens. DECKER -LRB- cont. -RRB- When you talk about murder on the tapes, I thought it was invention. Now I'm not so sure. Boone keeps staring at the pictures. The glassy eyes stare hard at him. His breathing is now rapid and shallow. One or two of the images seem to move. Bodies twitch. He drops the photographs. BOONE I did n't. DECKER Did n't what? BOONE They were bad dreams. DECKER What you describe in your sessions is very specific. Houses ; faces. BOONE I do n't remember. DECKER You want to hear? BOONE No! Decker picks up the photographs. Boone, highly agitated, gets up and paces the room. BOONE -LRB- cont. -RRB- You think I did this? DECKER Six families killed over a two year period. All within driving distance of Calgary. BOONE -LRB- fury. -RRB- Do you think I did this? DECKER I hope to God you did n't, for both our sakes. We've come a long way together. I do n't want to believe this any more than you do. BOONE But you do. DECKER I would n't put us through this pain if I did n't. if I was n't. afraid you had. BOONE -LRB- desperate ; helpless. -RRB- What do I do? God, tell me what to do. DECKER I can only go so far on your behalf. Patient confidentiality's one thing. Protecting a killer is another. BOONE -LRB- breaking down. -RRB- Jesus. Jesus. Jesus. Decker returns to his desk. Puts the photographs down and picks up a vial of prescription pills. He crosses to boone. DECKER Listen to me. Take these, they'll help. Go home, and consider what we've talked about. I'm going to give you twenty - four hours to go to the police and answer their questions of your own accord. That's as long as I can give you. if you have n't complied by then, I'm afraid I'll have to tell them what I know. Boone grabs the pills. DECKER -LRB- cont. -RRB- I ca n't tell you how sorry I am.", "INT. DECKER'S BUILDING HALLWAY DAY Boone exits into the hall, forces open the vial of pills, swallows a couple, shaking, trying to control his terror.", "INT. DECKER'S OFFICE DAY Decker sits at his desk, lifts his briefcase, opens it, tosses the folder of photographs into the case. Looking into the case he seems on the verge of some powerful emotion. Rage? Revulsion? He snaps shut the briefcase. The emotion passes.", "INT. BOONE'S APARTMENT DAY Boone enters the apartment, his eyes wild. He slams the door and closes his eyes. MURDER PHOTOGRAPHS/BOONE'S HALLUCINATION Boone studies the photographs in his hand, and they come to life. 38A INT. BOONE'S APARTMENT DAY Boone opens his eyes.", "INT. BOONE'S BATHROOM DAY Boone chews the pills. He is now sweating and shaking violently. Boone strips off his clothes.", "INT. BOONE'S APARTMENT AFTERNOON Boone opens his drawers and pulls out photographs, his passport etc and starts to make a pile with them. He pours lighter fuel on the pictures, and watches them burn. Sitting against the wall still sweating he takes some more pills. We see Lori's love letters burn and hear her voice speaking the words as they are consumed. Boone cries. Then he hears Lori's voice say : LORI Boone. Lori is sitting on the edge of the bed. Boone looks round, sees himself against the wall and moves forward past the real Boone towards the bed. Boone watches as he and Lori make love on the bed. We close in on the love - making. Lori leans to kiss him. BOONE I'll never leave you. Cut back to boone, his face all grief. BOONE Stupid.", "INT. BOONE'S BATHROOM AFTERNOON Boone's hand pulls the shower curtain aside and turns on the water. The water pours on him. HALLUCINATION Another of the murder scenes comes to life. Corpses pulse with hideous animation.", "INT. BOONE'S BATHROOM AFTERNOON With a cry Boone slides to the shower floor, panting, haunted, destroyed. BOONE -LRB- faintly. -RRB- I did it. I did it all.", "INT. BOONE'S APARTMENT EVENING Behind him, the last of the fire flickers. He looks through the blinds at the sunset. Takes another pill. Puts on his leather jacket. Exits. The door slams.", "INT. NIGHTCLUB NIGHT Lori is on stage, sexy, vivacious, fronting a tight C & W band in a hip rendition of ` Johnny Be Angry'.", "INT. NIGHTCLUB NIGHT Lori's P.O.V. looking though the crowd in front of the stage. Lori spots Boone standing near the entrance, his face in shadow. Her eyes light up with joy as the song builds to climax. It ends. Applause, cat whistles, foot stomping. Lori's in heaven. She looks out again. Boone is gone.", "EXT. HIGHWAY NIGHT Boone steps into view by the side of the road, watches the traffic.", "INT. NIGHTCLUB CORRIDOR NIGHT Confused and worried, Lori stands in the empty corridor, a note Boone has left for her in her hand. Boone edges out closer to the road. Spots a huge semi with a fully loaded trailer barrelling down towards him. Lori opens the note and reads : ` Keep this. Burn the rest. All wrong.' Tears burst from Lori's eyes. Boone flings himself in front of the oncoming truck.", "INT. HOSPITAL EMERGENCY ROOM NIGHT A blaze of light. A bustling emergency receiving area. A stern nurse goes through the pockets of Boone's jackets, which is lying beside him on a gurney. His eyes are closed, face and T - shirt bloody. She fishes out the vial of pills. Boone moans, opens his eyes. NURSE Lucky you're in one piece, fella. BOONE -LRB- realizing where he is. -RRB- ca n't even kill myself. NURSE There's a cheerful thought. -LRB- to an approaching doctor. -RRB- I do n't know what kind of fuel he's using, but this guy's cruising at about 35,000 feet. The doctor takes the vial of pills, checks the label. Opens Boone's eyes, shines a penlight flash on the pupils. Boone recoils. Doctor takes his pulse. DOCTOR You do n't hit that altitude on lithium carbonate. Let's get the prescribing doctor on the line. -LRB- finally - to Boone. -RRB- Okay, we're doing all right, are n't we? Tell me, what've you been taking tonight, partner? BOONE Lithium. The doctor opens the vial, looks at a handful of the pills. DOCTOR Lithium? This is n't lithium, my friend. -LRB- to the nurse. -RRB- Let's move him. Observation, let's get an IV, valium/saline, 200 milligrams percodan for pain, as needed. -LRB- quietly - hands the pills to the nurse. -RRB- We'll have to call this in. She nods. With considerable effort, Boone sits up urgently and grabs the doctor's hand, holding the pills. BOONE What was I taking? DOCTOR -LRB- patronizing. -RRB- Easy. We do n't know until we run some tests. Looks like some kind of lab quality psychotropic hallucinogen. You're on what we used to call a ` bad trip' there, buddy. You relax now, you're gon na be fine. The doctor and nurse ease Boone back down onto the gurney. The doctor moves away. The nurse pulls back the curtain and rolls Boone across the hall into a semi - private room", "INT. SEMI-PRIVATE HOSPITAL ROOM NIGHT From emergency behind them, a warning buzzer sounds. VOICE -LRB- thru loudspeaker. -RRB- Code blue! Code blue! In an emergency room cubicle, a patient is having a seizure. The nurse rushes off, leaving Boone. Interns roll the cardiac cart towards the cubicle and curtains close around the scene. The door to Boone's room swings closed, shutting out the sounds. Boone exhales heavily. Closes his eyes. NARCISSE -LRB- V.O. ; muttering - half mumbled ranting. -RRB- Shit! Shit! Take me, why do n't you take me? Boone opens his eyes. Looks across the room at Narcisse, a wild man, half - derelict, half - punk, bloodied, his hand bandaged, pacing back and forth like a caged cat, staring out of a large picture window at the night.", "EXT. HOSPITAL WINDOW NIGHT Looking in at the brightly lit window framed in the dark building, as Narcisse restlessly moves across it, peering outside.", "INT. SEMI-PRIVATE HOSPITAL ROOM NIGHT NARCISSE -LRB- low and anxious. -RRB- They've gone, they've gone, they were here, they were coming for me, where'd they go? Shit! BOONE Hey. NARCISSE -LRB- turns on him - viciously. -RRB- Shut up, shut up! They saw you, they wo n't come while you're here, they wo n't show themselves to the likes of you, do n't you see that? BOONE -LRB- placating - knows the type. -RRB- Sure, okay. NARCISSE Shit! I've missed them, I've missed them! You scared them off, you kept them from me! Narcisse paces again, starting to sob and sniffle. Boone leans back. NARCISSE -LRB- cont. -RRB- -LRB- barely audible - between cries -RRB- :. Midian. Midian. Boone's eyes open like a shot. BOONE What did you say? NARCISSE I said shut up, you want to ruin everything? Boone leaps to his feet, grabs and easily overpowers the smaller man. BOONE What did you say, just now? NARCISSE -LRB- suddenly friendly. -RRB- What did you say, just now? BOONE You said Midian. NARICSSE -LRB- coyly. -RRB- Did I? Maybe. BOONE -LRB- hurting him - desperate. -RRB- What do you know about it? NARCISSE It's where the monsters go. It takes away the pain. Narcisse reaches his hands into his pockets, then comes out with long, silver, razor - sharp artificial nails, curved like hooks, attached to his thumbs. He holds them right at Boone's throat, ready to cut. He smiles. NARCISSE -LRB- cont. -RRB- what do you know about it? BOONE -LRB- pause ; cautiously. -RRB- They forgive you there. NARCISSE Uh - huh. Ever kill anybody? BOONE Yes. NARCISSE See, they only take you if you're worthy. You know what they do to those that are n't worthy? Boone shakes his head. Narcisse draws one razor - nail lightly across his own throat. A thin trickle of blood runs down his neck. He chuckles. BOONE It's real. Midian's real. -LRB- Narcisse nods ; carefully. -RRB- And you know. where it is. Do n't you? We could go there. NARCISSE They sent you. They sent you to take me. BOONE That's right. But first I need to know. you have to tell me. where it is. NARCISSE It's a test? -LRB- Boone nods ; Narcisse leans in to him - whispers. -RRB- No maps. BOONE But you do know. Do n't you? NARCISSE -LRB- looks around ; leans in again. -RRB- North of Athabasca. East of Peace River. Near Shere Neck, north of Dwyer. Satisfied, Boone releases him, go back to the bed, collects his jacket. NARCISSE -LRB- cont. ; exhilarated. -RRB- You'll take me with you, I'm worthy, you ask anyone, I knew you'd come, they sent you to take me, I was waiting. I know, I know, first I have to show you, that's how it works. Boone is looking out of the window in the door, sizing up his escape. BOONE Show me what? NARCISSE My true face. That's what there are for. -LRB- he raises his bladed thumbs. -RRB- So you can see. I'm not a natural man. Underneath I'm a monster, that's how it works ; I show you, then you take me with you. He puts the blade to either side of his face. We hear the skin pop. BOONE NO! Blood pours from Narcisse's face, as he traces the outline of his face.", "INT. EMERGENCY ROOM NIGHT Dr Decker, who's just arrived with Lieutenant Joyce and two policemen, is speaking with the doctor that examined Boone. DECKER -LRB- urgent - showing Boone's file. -RRB- he was an abandoned child, raised by the state, first diagnosis of incipient schizophrenia at thirteen, juvenile delinquency, periodically institutionalized through early adulthood. some violent episodes, never criminally charged as an adult, he's been in my care for less than a year. A bloodcurdling scream from the semi - private room rivets the attention of the emergency room", "EXT. SEMI-PRIVATE ROOM NIGHT Following the nurse and an intern as they burst into the room and are greeted with the sight of Narcisse, blood running freely, ripping the least of his scalp off his bare skull, laughing and crying maniacally. Boone stands near the door, horrified. NARCISSE -LRB- variously. -RRB- TAKE ME! TAKE ME! I'M A MONSTER! Nurse -LRB- over - to Boone -RRB- What the hell have you done? Boone : Nothing! INTERN Fucking junkies! -LRB- at the door - yelling into the corridor. -RRB- Doctor! As the door swings open, Boone looks out into the corridor and at the far end of the emergency room he sees Decker and the cops looking his way. Medical support move towards the room, as the nurse and intern try to contain the ranting Narcisse. Boone grabs a loose doctor's coat off the back of the door, slips it on and backs out of the room. BOONE Let's get some help in here! Pandemonium. Narcisse screams, as a half - dozen people struggle to subdue him. As help continues to rush into the room, Boone slowly backs away, out and around a corner. He stops beside a swinging door, sensing something.", "EXT. SEMI-PRIVATE ROOM NIGHT Dr Decker moving through emergency towards the mêlée, stops on the other side of the swinging door, his senses lit up with alarm. He slowly turns to the door. Pushes it open. Empty.", "EXT. HOSPITAL NIGHT Boone moves rapidly away from the exit into the parking lot, tossing off the white coat, breaking into a run. He tries several car doors, finds one open, gets in.", "INT. CAR NIGHT With a rush of adrenal intensity, Boone expertly rips open an under panel of the dash, locates and patches together the correct ignition wires and hot - starts the car. Closes the door. Puts it in gear.", "EXT. HOSPITAL PARKING LOT", "INT. CAR NIGHT Boone slowly drives out of the lot trying not to attract the attention of the fleet of patrol cars sirens wailing, pouring into the area.", "EXT. FREEWAY NIGHT Boone drives up an entrance ramp and onto the highway, past a sign that reads : ` HIGHWAY 2/NORTH'", "INT. HOSPITAL EMERGENCY WARD NIGHT Dr Decker, a few policeman and medical personnel wait outside the door leading to the semi - private room. Lieutenant Joyce exits and a surgeon follows a moment later. DECKER What's he saying? JOYCE He's talking but he's not making any sense. Something about a place called Midian. SURGEON He's dying. I think he wants to die. Pause. The surgeon moves on. DECKER -LRB- unobtrusively - to Joyce. -RRB- Lieutenant, I know Boone, I know how he talks, how he manipulates. Perhaps if the right thing is said to this man it'll trigger something. JOYCE -LRB- consider. -RRB- No harm in trying. DECKER I'll do my best. But I'll need privacy. Decker enters the room.", "EXT. SEMI-PRIVATE ROOM NIGHT Looking in through the room, we see Decker cross the room to the bed where Narcisse is lying. Decker says something to the nurse. She exits. Decker moves closer to the bed. He reaches into his pocket for something and moves out of our sight.", "EXT. HIGHWAY/INT. CAB NIGHT/DAY Montage - Boone drives through the night, and the following day, through a landscape which becomes increasingly more desolate.", "EXT. ROAD SIGN LATE AFTERNOON The road sign reads : ` DWYER - 56 MILES' Boone's car speeds past.", "EXT. DIRT ROAD OUTSIDE MIDIAN DAY Boone's car rolls to a stop. Boone steps out and looks at something in the dust. A battered sign. It reads : ` MIDIAN/POPULATION 63' There is no sign of life. BOONE No. oh no. -LRB- in despair. -RRB- No! His shout echos. The wind blows up a cloud of dust around him. He walks through the dust, on the verge of tears. And then. the dust clears, and he sees.", "EXT. NECROPOLIS DAY Necropolis, lying on the other side of a thick expanse of reeds. Puzzlement overtakes despair. He squints to see more clearly. The Necropolis is vast. High walls, surrounded by reeds, with the tops of mausoleums, showing above it. ALmost a fortressed town. Boone starts towards it.", "EXT. NECROPOLIS GATES DAY The sun is low in the sky, the light golden glinting off the gates. The reeds sigh. Boone pushes one of the gates open and steps inside. His footsteps echo, unnaturally loud in this city of the dead. To either side of him, elegant and elaborate mausoleums, running away into the distance, with numerous smalls tombs set around and between them. The sun finally sinks out of sight. Its final glow dies on the tops of the mausoleums. There are already stars overhead. Boone walks on a little way, as the night sounds begin. Exhausted, he sits down on a tomb and leans back against the stone. BOONE -LRB- softly - a bitter irony. -RRB- Dead. all of the dead. He rummages for a cigarette in his jacket pocket. Pulls one out. Lights it. The flame seems to excite sounds around him. He looks up. The walkways are empty in both directions. There's a guttural sound at his back. He stands, drops the cigarette, backs away. From the darkness behind him steps a huge form. A knife is put to his lower belly. Its wielder, Kinski, is a massive man, face distorted, his features grotesquely bifurcated. KINSKI -LRB- whispers. -RRB- Move and I gut you. Boone stays still. The growling from between the tombs becomes words. VOICE -LRB- from the darkness. -RRB- You got him? KINSKI I got him. A reptilian hand reaches out and picks up Boone's dropped cigarette. BOONE Midian? Are you from Midian? KINSKI We should take him below, Peloquin. The silhouette of Peloquin, a were - creature, moves between the tombs. He draws on the cigarette. By its brightening point we glimpse an extraordinary face : more animal than human, but no recognizable species. PELOQUIN He's not Nightbreed. He's Natural. BOONE No! I've killed people, I'm like you, that's why I'm here. PELOQUIN Shut the fuck up. You're meat. KINSKI If we eat him we break the Law. BOONE My God. my God, it's true. PELOQUIN Of course it's true. Everything's true. -LRB- he starts to emerge from the shadows. -RRB- God's an astronaut. Oz is over the rainbow. And Midian's where the monsters live. And you came to die. BOONE I did n't. did n't come to die. I came to be with you, I'm one of you. Peloquin reaches out and touches Boone's chest. PELOQUIN No. Sorry. I can smell innocence at fifty yards. BOONE I've killed people. Fifteen people. PELOQUIN Who told you that? BOONE What do you mean? PELOQUIN He lied, asshole. He lied. You're a Natural. And that means. you're meat for the Beast. Peloquin growls, throwing his head back and forth with a strange grace, the image flickering as he does so. Boone watches, amazed. In the blur of Peloquin's motion he transforms, the tentacles on his head lengthening and thickening, thrashing around as though they have a life of their own. He moves towards Boone, taking hold of him and tearing his T - shirt open. KINSKI We must n't. It's the Law. They'll exile us. PELOQUIN Fuck the Law! I want meat! He bites Boone's neck, tearing at his flesh. KINSKI Peloquin, no! Kinski takes the knife from Boone's belly and pushes Peloquin aside. Boone slips away from them. PELOQUIN Damn you! He races after Boone, who runs blindly, his hand pressed to the wound on his neck.", "EXT. NECROPOLIS NIGHT The Breed listen. We track running feet past the grille, and move close into grille, dropping through a dark rock face.", "INT. BELOW MIDIAN In the deep darkness faces look up. The faces are strange and freakish. There is a woman locked in the embrace of a dark monster. A monstrous baby cries.", "EXT. NECROPOLIS NIGHT Boone takes refuge against a mausoleum wall. He takes his hand from the wound on his neck. It is throbbing like a living thing, spreading across his muscle. He stares down at the wound, then touches it lightly. It gives him pleasure. A sound above him. He looks up. Peloquin is climbing down the mausoleum wall, mouth opened wide to take off Boone's head. Boone throws himself forward as the jaws snap shut, missing him by inches. He runs. Kinski appears in his path. For an instant Boone thinks the game's up. KINSKI That way! The gate's that way! Boone sprints.", "INT. BELOW MIDIAN The monsters watch and listen.", "EXT. NECROPOLIS GATES NIGHT Peloquin pushes Kinski aside and pelts after Boone, who is at the gate. He flings himself through, and slams it behind him. Peloquin is at the gate, when Kinski comes up behind and restrains him. KINSKI He's gone, give it up! You do n't dare go out there! Peloquin stares at Boone through the gate. Panting, sweating, Boone stares back. Snorting with frustration, Peloquin recedes, he and Kinski disappear into shadow. Boone heaves a sigh of relief, turns from the gate and trudges away into the darkness, when suddenly.", "EXT. OUTSIDE NECROPOLIS GATES NIGHT Harsh lights hit Boone from every side ; police cars in the reeds all around, their searchlights focused on him. Two dozen cops, all levelling firearms. JOYCE Freeze! Right there! Boone squints against the glare. JOYCE -LRB- cont. -RRB- Aaron Boone, you're under arrest. Hands on your head! NOW! Boone takes a step back. The wound on his neck throbs and swells. At the edge of the light, Decker appears, stepping towards him. DECKER Boone, listen to him, it's no use! JOYCE -LRB- to Decker. -RRB- Stay back! DECKER -LRB- lowers his voice. -RRB- Lieutenant, I can bring him out. He'll listen to me. Joyce ponders, then signals him forward. Decker advances toward Boone. DECKER -LRB- cont. -RRB- Boone, it's all right, I've explained everything to them. Rifles are cocked on every side. Decker stops a safe distance from Boone. DECKER -LRB- cont. -RRB- They wo n't harm you, I give you my word. BOONE -LRB- hanging back. -RRB- I did n't do it. I did n't hurt anyone. DECKER -LRB- lowering his voice. -RRB- Of course you did n't. BOONE You. you believe me? DECKER You would n't hurt a fly. -LRB- extends a hand. -RRB- Come on, Boone. It's safe, I've seen to that. BOONE -LRB- taking a tentative step forward. -RRB- What, what about the pills? DECKER -LRB- pause ; whispers. -RRB- What about them, Boone? BOONE They were n't tranquillizers. A look of alarm crosses Decker's face. Boone reads it. He gets the picture. BOONE -LRB- cont. -RRB- You set me up. you bastard, you set me up! He lunges for Decker, who turns and throws himself to the ground as he yells. DECKER He's got a gun! JOYCE FIRE! The bullets fly. Boone is about to pounce on Decker when he's hit by a barrage, thrown back, riddled with bullets. On the ground, Decker covers his head. Boone goes down. The volley ends.", "EXT. NECROPOLIS NIGHT The sound of gunfire echoes through the walkways.", "INT. BELOW MIDIAN In the shadows, a baby held in the arms of a woman with monstrous but beautiful features, begins to cry.", "EXT. OUTSIDE MIDIAN NIGHT Joyce hears the sound of crying and looks up. Boone's body lies on the ground. Decker rises, hearing the distant sobs on the wind.", "INT. BELOW MIDIAN The mother hushes the child, her arms, which are tentacles, wrapping around it.", "EXT. OUTSIDE MIDIAN NIGHT The sound of crying is lost. Joyce moves forward, towards Decker and Boone. JOYCE -LRB- trying to convince himself. -RRB- just the wind. He reaches Decker, looks down at Boone's body. Looks around. JOYCE -LRB- cont. -RRB- Where's the gun? DECKER -LRB- seemingly dismayed. -RRB- He reached into his jacket. I thought I saw it, I swear. oh God, Boone. JOYCE -LRB- quietly, to some cops, meaning Boone. -RRB- Get him outta here.", "EXT. NECROPOLIS NIGHT We track towards a tomb, on which the epitaph reads : ` GOD IS MERCIFUL'", "INT. MORGUE/VIEWING ROOM NIGHT Moving with Lori, flanked by Dr Burton the pathologist, and a grim Joyce. They enter a smaller room. Burton flips a switch. Curtains part in front of a thick glass panel, revealing a small, sterile viewing chamber. In the chamber are a morgue attendant and, lying on a stainless steel table, Boone's body. Lori looks at the body with heartbreaking sadness. She nods. Burton closes the curtains. Lori and Joyce exit. On the other side of the glass, the attendant rolls Boone on the table towards a door marked ` Pathology'.", "INT. INTERVIEW ROOM NIGHT Dr Decker sits alone, looking into his briefcase. The door opens, Lori and Joyce enter. Decker closes the briefcase, rises, aggrieved, takes both of Lori's hands in his, speaks soothingly. DECKER Lori, I'm Dr Decker. Boone was my patient. LORI Yes. Hello. DECKER I'm so sorry for your loss. I must tell you, you meant the world to Aaron. He spoke of you constantly. LORI -LRB- withdrawing her hand - has the creeps. -RRB- Thank you, Doctor. Lori sits across a table from Joyce. Decker sits against the wall. JOYCE Miss Winston, are you sure you would n't rather postpone. LORI No. Let's get it over with. Joyce turns on a tape recorder on the table. JOYCE -LRB- starting at the beginning. -RRB- What was your relationship with Aaron Boone? LORI -LRB- pause. -RRB- We were lovers. We move in on the revolving reels of the tape recorder. JOYCE How long had you known Aaron Boone? LORI Two months.", "INT. AUTOPSY ROOM NIGHT Burton and the attendant, instruments laid out, Boone's body on a brightly lit steel table, ready for the autopsy. Burton activates an overhead microphone. BURTON Deceased is a white Caucasian male, late twenties. Suspected cause of death, multiple gunshot wounds to the thoracic cavity and extremities. The attendant lifts up Boone's jacket. Light streams through many bullet holes. ASSISTANT Jesus. They were n't takin' any chances. Burton picks up a small digging tool and zeroes in on one of the chest wounds. BURTON: Wound number one entered between the fourth and fifth left ribs, impacted the lower rib, lodging in ligaments adjacent to the left lung. He digs.", "INT. INTERVIEW ROOM NIGHT JOYCE So he never gave any indication. LORI No. JOYCE Surely there must have been something. LORI -LRB- firm, angry -RRB- ; Look, you can say whatever you want to about him. I do n't believe it. He never raised a hand to me, he never harmed anyone in his life. A strained silence. Decker drums his fingers on his briefcase. DECKER Miss Winston, everyone has their secret faces. LORI Drop dead. Annoyed at Decker, Joyce turns off the tape recorder. JOYCE We'll continue this some other time. Lori stands and heads for the door.", "INT. AUTOPSY ROOM NIGHT A pair of callipers drop a distended bullet into a steel bowl, containing at least ten other similarly maimed bullets. Fatigued with effort, Burton wipes his forehead, turns off the microphone. BURTON Coffee break. The attendant turns off the bright overheads, he and Burton move into an adjoining lounge.", "INT. MORGUE ENTRY WAY NIGHT Lori is putting on her coat. A contrite Decker approaches her. DECKER Miss Winston, I hope you did n't misinterpret what I said. Boone meant a great deal to me. LORI Where did he die? -LRB- pause. -RRB- What was the name of the town? DECKER A place called Midian.", "INT. AUTOPSY ROOM NIGHT The bowl wobbles on the ground. The bullets roll off in different directions. Sound of glass breaking.", "INT. MORGUE ENTRY WAY NIGHT Hearing the breaking glass, Lori and Decker turn back towards the autopsy room. LORI Boone? She runs towards the sound, Decker follows.", "EXT. MORGUE NIGHT In slow motion, a large first - floor window shatters out towards us.", "INT. AUTOPSY ROOM NIGHT As Lori, then Decker enter, moments after Burton, Joyce and the attendant. The autopsy table is empty. BURTON Someone's taken him. DECKER My God. ATTENDANT -LRB- looking around. -RRB- Where's his coat?", "EXT. MORGUE NIGHT Slow motion -- distorting time, we see the rest of the shattering window and a dim figure crosses the moon.", "INT. LORI'S APARTMENT DAY Lori hurriedly throws some belongings into a suitcase. We see some newspaper clippings beside the suitcase. A headline reads : ` SLASHER SUSPECT SLAIN' Another features a map, showing the location of Midian.", "EXT. ROAD DAY Montage - Lori drives, at high speed, down the same roads Boone took previously.", "EXT. SHERE NECK ROAD EVENING At sunset, Lori enters the town, past a sign that reads : ` WELCOME TO SHERE NECK/WELCOME BUFFALO DAYS RODEO'", "EXT. SHERE NECK MOTEL EVENING Lori pulls into the parking lot of the motel. A neon sign reads : ` THE SWEETGRASS INN' Above it, the moon. From the motel itself, sounds of revelry.", "INT. MOTEL BAR NIGHT A wood - panelled, Western Frontier - themed bar. Country music. A banner welcomes rodeo participants. A number of rough types clustered at tables, many of them wearing baseball caps adorned with buffalo horns. Lori enters, looks around. A cowboy lassoes a waitress, ropes her in to general applause. Lori takes a seat at the bar and is approached by a bartender. BARTENDER What'll it be, darlin'? LORI A draft and some information please. BARTENDER -LRB- taps a stein of draft. -RRB- There's the draft. LORI -LRB- lays down a bill. -RRB- I'm looking for a town called Midian. BARTENDER You're not the first. LORI No? BARTENDER Had a bunch of TV news folks passin' through, since they nailed that baby - slasher up there. LORI Baby - slasher? BARTENDER Yeah, hell of a week for us. The rodeo this weekend. That scumbag gets blown away. I hear it took thirty slugs to bag that sucker. Just goes to show you, do n't it? People love a spectacle. Lori's hit with a burst of emotion. She does n't want the bartender to see her cry. LORI Where's the bathroom? BARTENDER Right around the corner there, darlin'. Lori rises, exits.", "INT. MOTEL BATHROOM DAY Lori enters and leans on the sink as the grief hits her. She sobs. A stall door opens behind her : Sheryl, a girl in her early twenties, exits. Lori pulls a tissue from her bag and tries to compose herself, standing back to allow Sheryl access to the mirror, where she studied herself before starting to tease her hair. SHERYL Which is it, hon', men or money? -LRB- Lori looks at her. -RRB- It's usually one or the other, ai n't it? LORI Oh. -LRB- a tiny smile. -RRB-. A man. SHERYL Uh - huh. What'd he do, leave? LORI Not exactly. SHERYL Jesus, did he come back? That's even worse. In spite of herself, Lori's brightened by the girl's good humor. SHERYL -LRB- cont. -RRB- Some loser takes a shine to ya, you could toss'em in the river tied to a piano he'll come back faster than a dog with a bone. Thing is, why go to all this trouble to look so good if there's nobody to admire the end product, am I right? LORI Ca n't argue with that. -LRB- likes her, feeling lonely. -RRB- Can I buy you a drink? SHERYL Hell, yes you can. Better than gettin' hit on by some damn buffalo.", "INT. MOTEL BAR NIGHT Lori and Sheryl at the bar. Lori's nursing a beer. Sheryl's into her fourth Black Russian and is getting friendlier by the moment. SHERYL -LRB- pause - just heard the story. -RRB- Lord. I have seen men go to great lengths to walk out on a girl. But, I must say, I have never heard tell of a fella doin' it while deceased. LORI They think some sick bastard's stole the body. SHERYL So you want to go check out the place in which he checked out? LORI Yeah. Guess it's a way to say goodbye, you know? He was always a mystery to me. I loved him. -LRB- she looks away. -RRB- SHERYL Tell you what, Lori, why do n't I drive up there to this Medium place with you tomorrow and keep you company? LORI You do n't have to do that. SHERYL Yeah, but I'm goin' to and I do n't want no argument from you. LORI -LRB- smiles, grateful. -RRB- Okay. Thanks. SHERYL That's all right. LORI -LRB- finishes her beer. -RRB- Guess I'll head up to my room. SHERYL You get some rest, sugar. I'm gon na stay down here and close this damn bar. Maybe one of these lunkheads'll win the lottery. Lori smiles, squeezes her hand, exits the bar. Sheryl looks around, finishes her drink. The bartender sets another drink down in front of her. BARTENDER Courtesy of that gent in the suit at the end of the bar. Sheryl looks down the bar, sees the man, seems impressed, waves. SHERYL -LRB- low, to the bartender. -RRB- Is n't he just the picture of sophistication though?", "EXT. NECROPOLIS NIGHT We Cut to a wide shot of the Necropolis by night. A shooting star falls. Now we move in on one of the mausoleums, and from the ground below we hear a ritualistic chanting. Once within the darkness of the mausoleum the camera slides down over the rock face into the depths of Midian. The volume of the chanting increases as we come close to its source.", "INT. MURAL CHAMBER We come into the mural chamber, the camera passing down over the family tree of Naturals and Nightbreed and round to see Rachel and Kinski approaching and entering the door of the initiation chamber. Cut to Narcisse and Boone, also approaching the chamber. NARCISSE You'll like this. No, really. It's just their way of welcoming you to the club. BOONE I'm not sure I want to be a member. NARCISSE You made your way back here for the same reasons I did. We belong here now. There's nowhere else on earth would take us in.", "INT. INITIATION CHAMBER In the middle of the chamber is a kind of font, on which stands a bowl of Baphomet's blood, steaming and bubbling. Standing in front of it is Lylesburg. To his side Peloquin. Beside him, Rachel. On Lylesburg's other side, Ohnaka. Standing around the walls as witnesses to the ceremony, are a variety of Breed. Boone enters. The Breed all look his way. Boone sees Shuna Sassi. BOONE -LRB- to Narcisse in a whisper. -RRB- Who is she? NARCISSE Shuna Sassi. Why? BOONE I dreamt her. Shuna leans towards Peloquin. SHUNA SASSI I've dreamt him. Narcisse nudges Boone forward. LYLESBURG Who is your advocate? NARCISSE I am. LYLESBURG Have you tutored him in the Law? BOONE Yes he has. LYLESBURG Let the advocate answer. NARCISSE Yes I have. LYLESBURG You understand what you do, becoming one of us? With this night you turn your back on the Natural World. The life you lived will after this be as a dream. BOONE I know. Lylesburg takes the glove off his right hand. The flesh beneath is cauterized. LYLESBURG The blood of the God tells all truths. It can harm as easily as heal. Are you prepared to be judged? BOONE I'm ready. Lylesburg nods, and puts his hand into the bowl of the blood. The blood bubbles around his wrist. We cut to Peloquin and Shuna Sassi, who are watching Boone intently. Boone's eyes are now on Lylesburg's smoking hand as it approaches Boone's chest, still marked by his wounds. LYLESBURG Be judged. He puts his hand on the bullet wounds. Boone stiffens. But there's no pain. When Lylesburg's hand is removed, the wounds have gone. There's a visible release of tension on the faces of all those watching. LYLESBURG Aaron Boone, in the name of Baphomet, Lord of the tribes of the moon, I bid you welcome. The camera moves out of the chamber, and towards the mural.", "INT. MOTEL BEDROOM NIGHT Lori lies awake in bed, staring at the ceiling. Outside, and next door, the noise of laughter and partying. LORI -LRB- quietly, a tear in her eye. -RRB- I still love you, Boone.", "INT. MOTEL BAR DAY Sheryl is sitting at the empty bar, obviously hung over. She is wearing dark glasses and a horned Buffalo Days hat. The bartender pours her an eye - opener. BARTENDER Hair of the dog. Lori enters. SHERYL Hi. LORI How's your head? SHERYL My momma always used to say, ` Sheryl Ann, there's a man out walking around with your name on his mind, all you got to do is run into him.' LORI And he just happened to be checked in here at the crossroads of the world. SHERYL Is n't that something? His name is Curtis, he is a banker, recently divorced and recently relocated in Edmonton, up for the rodeo and better yet, he thinks I am the Queen - bee's knees. LORI Sheryl, you sure you want to come along? SHERYL Would n't miss it. Besides, Curtis has to do business today, we've got an engagement for this evening and if I sit around all day with this head on I'm gon na feel like the hind end of a dog sled. LORI I'm glad for your company. SHERYL Now if we could just make a quick stop for some Alka - Seltzer.", "EXT. MIDIAN/INT. LORI'S CAR DAY Lori's car comes to a stop near the edge of the reeds outside the Necropolis. SHERYL Jesus. Looks like the gold rush is over. Lori parks the car. She gets out, looks around. LORI -LRB- quiet - reflective. -RRB- Why? Why would Boone come here? SHERYL To get away from it all? -LRB- Lori gives her a look. -RRB- Shut up, Sheryl Ann. You go do what you have to do. I'll stay here and. do somethin' else. Lori nods and heads away down the street, leaving Sheryl beside the car. She leans against the car, surveys the emptiness, without enthusiasm. SHERYL -LRB- cont. -RRB- My luck, I'll end up buying some real estate.", "EXT. MIDIAN DAY Lori - as she leaves the reeds and sees the outer walls of the Necropolis. LORI Good God.", "EXT. MIDIAN DAY Sheryl - wandering from the car into the reeds. She lights a cigarette, tunelessly humming to ward off the willies. She stops, shivers, suddenly feeling very isolated. The atmosphere's got to her. She starts back to the car. She catches some movement out of the corner of her eye. Stops. Slowly walks away from the movement, fighting off panic. She turns a corner, and realizes she's lost in the reeds. She hears movement behind her, turns, startled, then, oddly, she smiles. SHERYL Curtis. what are you doing here? It's Decker, looking like a commuter, hair slicked back, wearing an overcoat, carrying his briefcase. DECKER -LRB- big smile. -RRB- Hello, Sheryl Ann.", "EXT. NECROPOLIS GATES DAY Lori reaches the gates, slightly breathless. She pushes one of them open. The sun is hot and bright, transforming the Necropolis from the dark, dangerous place it was when Boone was here. Now, with its gothic tombs and burgeoning plant life, it's almost welcoming.", "EXT. NECROPOLIS DAY Lori wanders the walkways, enchanted by the splendor of the place. There are strange, bittersweet sights along the way : statues of dogs sleeping on their masters' graves ; of mourning mothers ; of children, sitting at their graves. And grotesque images too : gargoyles protecting the doorways of mausoleums ; a tiger, roaring in stone. It is another world, solemn and silent. Except. suddenly, the sound of an animal in pain. Lori stops and looks around. Her gaze comes to rest on a spreading laurel tree beneath which the shadows are pitch black. From here, the sobbing comes. She approaches. There is an animal beneath the tree, barely discernible. She can see its flanks panting, its head moving in pain. LORI Jesus. It does n't look like a recognizable species, an amalgam of wild cat and deer. She approaches. It raises its head, weakly. Its eyes are huge and black. LORI -LRB- cont. -RRB- It's okay, I wo n't hurt you. it's okay. The creature shudders. LORI -LRB- cont. -RRB- What's happened to you? Let me see. She reaches beneath the branches and tentatively strokes the animal. It responds by dropping its head back on to the grass. LORI -LRB- cont. -RRB- Oh God. you poor thing. do n't die, please do n't die. She pushes beneath the tree, puts her arms beneath the creature and picks it up. It is heavy, a dead weight in her arms. She backs out from beneath the tree. As she steps back into the sun, the creature snarls and starts to wither in her arms. She realizes what's causing it pain and steps back into shadow. LORI -LRB- cont. -RRB- You do n't like the sun? Is that it? The sound of sobbing, off to her left, draws her attention. One of the mausoleum doors is open, and a woman, Rachel, dressed in black, stands in the shadows, weeping. Lori's astonished. LORI -LRB- cont. -RRB- I'm sorry. is, is it yours? RACHEL Bring her. Bring her, please. Shading the creature from the sun, Lori moves to the door and steps into the gloom.", "INT. MAUSOLEUM DAY The interior is marble, the air murky. Rachel, a fine - boned, pre - Raphaelite beauty in her thirties, moves back against the far wall, nursing a wounded arm. Lori looks down at the creature she's carrying, utterly limp in her arms. LORI I'm afraid it's too late. RACHEL No. she ca n't die. Bring her to me, please. Rachel reaches out. Lori's reluctant to move further into the darkness. RACHEL Hurry! As Lori crosses the floor, she hears whispering from a stairway that leads down into the earth. She stops, frightened. RACHEL Pay no attention. Please, bring me my Babette. As the creature is named it starts to move in Lori's arms. Not only move, but change. Its claws grab at Lori's breast as it writhes. RACHEL -LRB- cont. -RRB- Babette, no! LORI What's happening? RACHEL Do n't look! Do n't look! But Lori ca n't help but look. Appalled, she tries to pull the transforming creature off her, but its hold is firm. LORI Jesus! Jesus! With effort, she detaches the creature's claws from her, almost throwing it at Rachel, who cradles the changing creature in her arms. RACHEL Babette. Lori leans against the wall, trying to wipe the sticky fluids the creature's exuded onto her hands. When she looks up she sees the creature in Rachel's arms has transformed into a pale, beautiful girl of seven or eight. Lori's dumbstruck. LORI What. what. what the? RACHEL: She likes to play outside. I tell her I tell her says. you must n't play in the sun. The sun will hurt you. But she's just a child. She does n't understand. Lori looks back towards the open door, and the sun - drenched walkway outside. Then back at Babette. LORI This is too weird. RACHEL -LRB- an urgent whisper. -RRB- You saved her. I owe you something. listen ; I know why you came here. LORI You do? RACHEL You must go, this place is not for you. Midian is a home for the Nightbreed. Only for the Nightbreed. LORI Is Boone here? Did somebody bring him here? A deep baritone voice rises up from the shadows of the stairwell. LYLESBURG Rachel. you have said too much already. Lylesburg appears, a commanding, magisterial man with a vast grey beard and three slits on each cheek that look like gills. Loping along beside him, his fool, a muscular man with an innocently beautiful face : Ohnaka. RACHEL My Lylesburg, she brought me Babette, she saved her. LYLESBURG We know. But you can not help her. LORI -LRB- her spunk surfacing. -RRB- Look, I saved the child's life, do n't I deserve something for that? LYLESBURG The child has no life to save. -LRB- he looks at her - sizes her up. -RRB- But what she has is yours, if you want it. That's the Law. Do you want her? LORI No! I just want some answers. LYLESBURG You were n't meant to see this. LORI I kind of got that impression. LYLESBURG Then you also understand that to speak of this to anyone will bring dire consequences. LORI Hey, pal, do n't threaten me. LYLESBURG Not for you. For us. His words take the edge off Lori's anger. She notices that inscribed in the marble arch above the doorway are the words : ` WHAT'S BELOW REMAINS BELOW' LYLESBURG -LRB- cont. -RRB- What's below remains below. This is the Law. Rachel is carrying Babette down the steps. Lylesburg turns to follow her. LORI Wait! Wait a minute! Boone, Aaron Boone, just tell me, is he here? You took him, you took his body, did n't you? Hey! Lori crosses to the stairs. Lylesburg's disappeared down into the darkness. LORI -LRB- cont. -RRB- Talk to me, damn it, I have to know - come back!", "INT. MAUSOLEUM STAIRWELL Lori heads down the stairs. LORI Come back! Lylesburg, Ohnaka, Rachel and Babette have gone, however. Lori continues her descent. There are sounds in the darkness below her. She stops, and looks back towards the top of the stairs. It's a long way off. LORI -LRB- to herself. -RRB- How deep does this go? She heads on down, turning a corner. In front of her, Peloquin. He starts towards her. She backs away, into a second creature, and starts up the stairs. As she does so a third creature swings down from the darkness above her head. She shrieks, and runs like hell. PELOQUIN -LRB- calls after her. -RRB- Come back soon, y' hear?", "EXT. NECROPOLIS DAY Lori emerges, squinting against the blinding sun, trying to calm herself. LORI Okay. Walk away, Lori. Do n't panic. There's got to be a perfectly reasonable explanation. -LRB- ca n't sustain it. -RRB- And hell if I know what it is. She sprints back towards the gate.", "EXT. MIDIAN DAY Out of breath, Lori reaches the car, parked where she left it. No sign of Sheryl. LORI Sheryl! Sheryl! Let's get the hell out of here! -LRB- no reply. -RRB- Sheryl? Lori looks around. Sees Sheryl's purse in the dirt near the reeds. LORI -LRB- cont. -RRB- Sheryl? She moves towards the reeds. Picks up the purse. Peers inside the house. She hears a gurgling laugh from inside. It could be Sheryl. LORI -LRB- cont. -RRB- Sheryl, come on.", "EXT. REEDS DAY The undergrowth is dark and empty. Lori advances cautiously through the paths. LORI Sheryl, we have to go, uh, something's kind of come up and. She sees a splash of blood on the reeds. LORI -LRB- cont. -RRB- Oh shit. Something moves across our field of vision in the gloom behind her. She turns. LORI -LRB- cont. -RRB- Sheryl? She turns back and follows the trail of blood around the corner, Lying on the floor is Sheryl. Mouth cut away. Tongue cut off. LORI -LRB- cont. -RRB- Jesus! God! She turns to run, but Decker steps into her path. He wears a mask of repulsive simplicity : a linen face with two buttons for eyes and a zipper -LRB- open at present -RRB- for a mouth. In his hands are two large carving knives, both blood - stained. DECKER Let's get it over with, shall we? LORI -LRB- mind racing, a survivor. -RRB- Take it easy, let's talk about this. DECKER -LRB- advancing. -RRB- Do n't try and reason with me, Lori. I'm a lunatic. You do n't reason with lunatics. LORI How do you know my name? DECKER Good question. No reason why you should n't have an answer. -LRB- he pulls off the mask. -RRB- Wish I had a camera. Oh, the look a your face. LORI Why? Why did you kill her? DECKER Why did I kill all the others? For the fun of it, of course. For pleasure. Everyone ought to have a hobby, do n't you agree? LORI Boone was innocent. DECKER Is innocent, wherever he's hiding. After all the trouble I went to to find him a home for his guilt. LORI You sick motherfucker. DECKER Boone's alive, Lori. And your death is going to bring him out of hiding. He comes at her suddenly, but his heel slides in Sheryl's blood. He falls in front of Lori, and stabs at her feet. She avoids the stab by an inch. He rises suddenly, throws one of his knives aside and grabs the blade Lori holds, with a glove which strikes sparks. It is chainmail. Lori lets go, propelling herself through the reeds.", "INT. NECROPOLIS LATE AFTERNOON The light is diminishing behind the Necropolis walls. Lori's screams are distant. We track towards the gate as she runs down the hill. LORI Somebody help me! She flings the gate open and enters. Decker emerges from the reeds behind her.", "INT. THE TEMPLE OF BAPHOMET The temple is an impressive chamber, at the centre of which is a dais, ringed with representatives of the six failed saviours of Breed. In the middle of the ring, a statue of Baphomet. There are benches along the walls. Sitting in them, reciting in soft, sibilant voices the Laws of Midian, are Breed. Lylesburg, accompanied by Ohnaka, is also in the chamber, as is Boone, being held by the Breed. BOONE I have to help her! LYLESBURG You ca n't go. BOONE I'll kill him. No - one will ever know. LYLESBURG What's below remains below. BOONE I ca n't let her die. LYLESBURG When we took you in you made an oath to obey the Law. BOONE I wo n't listen to him butcher her. I love her. LYLESBURG She's a Natural. She could n't love you back. Not now. BOONE Wrong! He starts to struggle against his captors, fighting them off. BOONE You're wrong! Throwing one back, and punching the other, Boone breaks for the door. LYLESBURG Boone! Boone! Lylesburg's shout is ignored, as Boone heads up to the surface.", "EXT. NECROPOLIS LATE AFTERNOON Lori runs down the walkways pursued by Decker, her breath coming in gasps, close to collapse. LORI Help me! Oh please, God, somebody.", "EXT. NECROPOLIS LATE AFTERNOON Lori collapses. Decker reaches her and pulls on his mask. DECKER That's good. Be still. It's quicker that way. He pulls a particularly nasty blade from his jacket interior and advances. She rises and tries to duck the cut. He strikes her with the back of his hand. She falls, striking her head on a tomb. DECKER -LRB- cont. ; sudden fury. -RRB- I said, be still! Lori is semi - conscious, blood running from her wounded head. Looking past Decker, she sees something. LORI Boone. Decker laughs. Then he realizes she's reacting to the appearance of Boone, standing in the shadows behind him, in jeans and leather jacket. Lori slips into unconsciousness. DECKER You? Here again? BOONE Is n't this where the dead are supposed to go? DECKER You're not dead. BOONE -LRB- advancing. -RRB- You're wrong. We're both dead, Decker. DECKER I'm not Decker! BOONE No? Is n't that you, Dr Decker, hiding behind that child's mask? DECKER I'm not hiding. BOONE -LRB- still advancing, taunting him. -RRB- Decker, Decker. Doctor Decker. Enraged, Decker throws the knife ; it buries in the middle of Boone's chest. Decker laughs, then stops, as Boone pulls the knife out and tosses it aside. BOONE -LRB- cont. -RRB- Blades are no better than bullets, Decker, do n't you get it? I'm dead. The walking dead. DECKER That's not possible. Decker turns to run, but Boone races to him, catches, turns him and pulls Decker closer, until they're nose to nose. BOONE Not just dead. changed. A monster. Want me to show you? DECKER -LRB- whimpering. -RRB- No, please. BOONE Not your kind of monster. Not the soulless kind. I've got Midian in my veins. He tears off the mask, uncovering Decker's sweaty, terrified face. DECKER Please, please, it's, it's not my fault, it's the mask, it makes me do things I do n't want to. -LRB- Boone pulls him closer. -RRB- Boone, it was the mask and they were going to find me, punish me, I needed a scapegoat. BOONE You chose the wrong man. NARCISSE -LRB- V.O. -RRB- Man? You call yourself a man? Boone looks round ; Narcisse is squatting on a tomb, his face a mass of scar tissue. NARCISSE -LRB- cont. -RRB- You're no more man than I am. BOONE Monster, then. NARCISSE That's more like it. -LRB- he jumps off the tomb, moves towards them. -RRB- Well, go on, are you going to kill him or not? Only I want his balls. And his eyes. That is, if you do n't want them. BOONE I'll pass. NARCISSE Remember me, Doctor? I was dying when you had your way with me. You made me tell my secrets when I was feeling particularly vulnerable. Now was that a nice thing for a doctor to do? DECKER -LRB- to Boone, craven. -RRB- Oh God, Boone, do n't let him touch me, anything, keep him off me, full confession. sweet Jesus, mercy, mercy, please, I'm begging you! Narcisse raises his thumbs, still bearing their silver hooks. NARCISSE Let's start with his eyes. BOONE No! Boone pushes Narcisse back, but as he does so Decker slips his grasp. Boone roars and starts to twitch and stamp as Peloquin did and we watch as. Boone transforms into something part man, part carnivore. and gives chase. Decker nears the gate, but Boone is after him at great speed, leaping over tombs like a high - jumper.", "EXT. NECROPOLIS LATE AFTERNOON Left behind, Narcisse turns his eyes upon the recumbent Lori. NARCISSE -LRB- filled with hunger, greatly consoled. -RRB- Well. you'll do. As he advances on her, Lori's eyes flicker open. She screams.", "EXT. NECROPOLIS LATE AFTERNOON Boone right on Decker's tail ; he hears Lori's screams and stops. Decker runs out through the gate. Boone starts back towards Lori.", "EXT. NECROPOLIS LATE AFTERNOON Lori struggling in Narcisse's arms. He tries to muffle her. Boone leaps tombs, nearing their location. He bounds into the clearing, sees Lori unconscious in Narcisse's embrace. BOONE Let her go! Narcisse, all sheepish co - operation, gently lets her go onto the ground. NARCISSE Just. keeping her warm. Boone is almost human now. He reaches Lori. NARCISSE -LRB- cont. -RRB- I would n't have touched her. Boone breathes in the last of his monstrous condition, and bends to tenderly stroke Lori's face. Then, very lightly, he kisses her, and gathers her in his arms.", "INT. LYLESBURG'S CHAMBER BOONE I had no choice. LYLESBURG You've put us all in danger for your love of this woman. BOONE Decker ca n't tell anyone. What's he going to say? That he tried to kill a girl and a dead man stopped him? LYLESBURG He can still lead our enemies here. If he goes - if Midian's unearthed -- you're responsible. BOONE So let me make amends. LYLESBURG Just take the girl and go on your way amongst the Naturals. That's the Law. BOONE Who made this Law? LYLESBURG Baphomet. The God in Obsidian. Who made Midian. BOONE So maybe I should speak to this guy. LYLESBURG Baphomet is a spirit in stone. He does n't speak, or move. His wounds are too great. BOONE What are you afraid of? LYLESBURG What Baphomet made he has the power to unmake. His blood is volatile. He must n't be angered. BOONE Then I'll make nice.", "INT. CORRIDOR BY LYLESBURG'S CHAMBER NIGHT Boone heads down the corridor. He slows as he passes an entrance to one side chamber and looks in. Inside the chamber, a dog - faced man is working on a vast elaborate mosaic mural that extends into shadow in both directions. He looks up and locks eyes with Boone. Boone breaks off the contact and continues down the corridor. The dog - faced man turns back to his palette ; a multi - coloured collection of small tiles. He carefully selects a few, then turns to the mosaic and we see.", "INT. MURAL CHAMBER NIGHT The mosaic mural. Prominent in what appears to be a panoramic visual history of the Nightbreed race, is a heroic figure who closely resembles. Boone. The dog - faced man applies the tiles he's selected, filling in the irises of the Boone - figure's eyes.", "INT. RACHEL'S CHAMBER Lori sits up. LORI Boone? Her head aches. She winces. Babette goes to her aid. BABETTE Be still. It was a bad hurt he did us. LORI Us? What do you mean ` us'? RACHEL -LRB- moving to them. -RRB- You held Babette while she transformed. She's made quite a bond with you. BABETTE I felt your hurt. I still feel it. RACHEL She even knew you were coming here. She saw it all, through your eyes. BABETTE And you can see through mine. LORI -LRB- pause - she tries to read Rachel. -RRB- You're not kidding. RACHEL It's true. Lori rises unsteadily to her feet. Babette takes her hand, but Rachel moves her away from Lori. RACHEL -LRB- cont. -RRB- She does n't want you to touch her, sweet. She's afraid. LORI You got that right. One minute I'm about to get carved like a Christmas turkey, the next I'm. I'm. -LRB- a surfacing memory breaks her train. -RRB-. God. it was Boone. Boone saved me. RACHEL Yes. LORI But he's dead, I saw him in the morgue. RACHEL You still do n't understand, do you? LORI Wait a second, back up. RACHEL You're below now. With the Nightbreed. The last survivors of the great tribes. LORI Tribes of who? What? RACHEL We're shapeshifters ; freaks ; remains of races your species have almost driven to extinction. LORI So you're not immortal? RACHEL Far from it. The sun can kill some of us. Like Babette. She follows her father in that. Some of us could be shot down ; others would survive that because they've got beyond death. LORI Horrible. It's all horrible. RACHEL To be able to fly? To be smoke, or a wolf ; to know the night, and live in it forever? That's not so bad. You call us monsters, but when you dream, it's of flying and changing, and living without death. You envy us. And what you envy. LORI -LRB- softly ; understanding. -RRB- We destroy. RACHEL -LRB- to Babette. -RRB- Show her. Show her the past. Babette touches Lori's arm. BABETTE Be with me. The skulls in front of Lori fill her sight. We fly through one of the eye sockets into. LORI/BABETTE'S VISION -LRB- TORTURE SEQUENCE -RRB- Fade through from the skull chamber into grinning people running towards partially constructed bonfires. The people throw tinder onto the fires. We track off the fire - building to a wall, behind where frightened monsters hide. The shadow of a cross falls on them. LORI/BABETTE'S VISION -LRB- TORTURE SEQUENCE -RRB- Inquisitors in black robes part to reveal the Head Inquisitor in purple robes. He reads the charges. HEAD INQUISITOR Thou shalt not suffer a monster to live. LORI/BABETTE'S VISION -LRB- TORTURE SEQUENCE -RRB- Frightened monsters pulled away from the wall. LORI/BABETTE'S VISION -LRB- TORTURE SEQUENCE -RRB- Inquisitors step aside to show torture scenes. We track through the tortures : racks, crucifixion, floggings, a hanging. The camera moves off gallows, past a wall to flags. We cut close on the flag which reads FREAK SHOW, track past the flag to a cage, containing freakish Breed. Well - dressed ordinary men and women applaud and laugh. One of the freaks is dragged from the cages. He looks back at the family he's left behind. The inquisitor reads their charges, as the bonfire awaits. The Victim is thrown onto the bonfire. A tinder flares, and the inquisitors and audience light cigarettes and cigars from the tinder. The bonfire then flares up. An inquisitor lasciviously strokes the naked buttocks of a beautiful girl. She turns towards us in despair ; we see her head is bestial.", "INT. RACHEL'S CHAMBER Overwhelmed with horror, Lori opens her eyes, breaking her connection with Babette. RACHEL We are all that remain. LORI And. and you're saying. Boone's like you? RACHEL He is Nightbreed. Or he was, until he broke the Law. LORI -LRB- moving towards the door. -RRB- No, no, that's not possible - I've got to find him, there's been some kind of mistake. BABETTE Do n't go. LORI But he did n't kill anybody, it was n't him, he's innocent. RACHEL That no longer matters. LORI Where is he? Where'd he go? RACHEL Down to the Tabernacle, to Baphomet. LORI Who? RACHEL The Baptiser. Who made Midian. Who called us here and saved us from our enemies. LORI Take me there, I've got to find Boone. RACHEL It's forbidden. LORI We'll see about that.", "INT. EIGERMAN'S OFFICE Decker is drinking coffee. A cop strides by. Joyce enters. JOYCE Decker? This better be good. DECKER I found Boone. JOYCE Someone brought the corpse down here? DECKER He's not dead. JOYCE I saw him pumped full of bullets. DECKER So did I. But he's alive. He killed again. JOYCE In Shere Neck? DECKER No, out at Midian. JOYCE Why'd he go back there? Eigerman enters. EIGERMAN What are you doing in my office? KANE This is Inspector Joyce. Calgary Police Department. EIGERMAN We do n't need any city boys on the case. Midian's under my jurisdiction. JOYCE We can work together. EIGERMAN No we do n't. I'll bring him in myself. This is my town. DECKER He's not alone anymore. JOYCE What? EIGERMAN Yeah. I heard that talk. That's nuthouse talk. JOYCE Talk about what? DECKER Midian's not empty. There's something breeding there. Below the cemetery. EIGERMAN Bullshit. JOYCE -LRB- to Decker. -RRB- Do you believe that? DECKER Yes I do. And if you do n't stop them there's going to be more bloodshed. I promise.", "INT. MIDIAN CENTRAL CORE Lori finds herself in a cavernous space, lined with chambers connected by walkways and ladders, which do n't look particularly secure. She moves out on to a walkway. It leads her into the central core of Midian, which offers a view of dizzying descent into the earth. She scans the scene, amazed by the sheer scale of the place. LORI My God. As she descends into the bowels of Midian, creatures in various doorways watch her with curiosity. One creature seems to have light running from wounds on its body. Another tumbles past her, a slow acrobat, defying gravity. She sees only a few of these but hears far more, chattering and murmuring in the shadows.", "INT. MIDIAN CORE As Lori moves through the chambers toward Peloquin we see the devil creature Lude feeding snakes to his pet, a horned, many legged beast which squats on the floor. He gets up and goes to look at her. Leroy, a grinning grotesque, appears from the back of the chamber, snatches the snake from the maw of the pet, and comes to watch as well. LEROY -LRB- eating the snake. -RRB- There goes the neighbourhood.", "INT. MIDIAN CENTRAL CORE Lori looks into a chamber. A dark, winged figure moves aside to reveal. A ceremony, with the bowls of white blood later seen in Baphomet's chamber, is in progress.", "INT. MIDIAN CENTRAL CORE As Lori crosses the bridge something watches from the deep shadows. the tone darkens. She steps off the bridge and scorpions scuttle away. Lori is now a little nervous. She finds herself in a corner with several doors. Through one door she sees a man with a white T - shirt. She calls after him. LORI Boone? Lori enters through the door.", "INT. MIDIAN CHAMBER In a corner a ghastly meal is underway. The Boone figure is heading away through another door. Lori follows the figure, and the diners get up as if to attack. In the next chamber is a tangle of bright red glistening bodies with no heads. Lori glances round. The diners pursue her.", "INT. MIDIAN CHAMBER Up ahead of Lori is the Boone figure. She approaches it as it steps out of the shadows. It is not Boone! She steps away.", "INT. MIDIAN CHAMBER The red beast is rising behind her. Lori turns and exits the chamber, flattening herself against the rock. She advances. Crouched in a niche above where she's walking, we see a small lizard - like creature, Barabas, eating a dead rat.", "INT. MIDIAN CHAMBER Lori enters the final chamber, following the figure she thinks is Boone. On the far side, crouching at a door, a figure. LORI Boone? The figure turns. It's Peloquin. PELOQUIN No - one here of that name. She turns. The Boone figure is in the doorway behind her. He has the face of a snake. PELOQUIN Told you! He approaches Lori. PELOQUIN I know you. He talks about you. Lori. He snatches a broach from her. PELOQUIN Nice. You're still a Natural. Want to join the family? -LRB- he goes to bite her. -RRB- LORI No! Peloquin follows her to the door. PELOQUIN -LRB- at door. -RRB- You will. Sooner or later you'll want to live forever. He laughs maniacally, returning into his room.", "INT. MIDIAN CENTRAL CORE Lori continues her descent. As she nears the cavern floor, Lylesburg steps into her path, beside him his fool, Ohnaka. LYLESBURG You may go no further. LORI I want Boone! LYLESBURG: You're not to blame, but you must understand what Boone's done has put us in jeopardy. LORI No problem, you tell me where he is and we're outta here. LYLESBURG Boone has gone to Baphomet. He is beyond recall. A low rumbling issues from somewhere deep inside the passage Lylesburg stands before. Underneath the rumble is an animal moaning with pain. LORI Where is he? He's down here is n't he? You want to stop me you're gon na have to kill me. Impressed by her resolve, Lylesburg stands aside. She moves past him and heads down into the chamber, towards a distant light. Lylesburg gestures after her. Ohnaka nods and follows.", "INT. BERSERKERS' CORRIDOR ANTECHAMBER Lori heads through a room which leads towards the Berserkers. The reassuring sounds of the Core fade behind her. She slows her advance. Suddenly, Narcisse steps from the shadows. NARCISSE Up and about already? LORI Keep away from me. NARCISSE I'm sorry about upstairs. I see a pretty face and I want to kiss it. -LRB- Lori moves on past. -RRB- Do n't go down there. LORI Why not? NARCISSE -LRB- instant change of subject. -RRB- Do n't you just love this place? Shangri - La on dope. I love it. LORI What's that smell? NARCISSE -LRB- sniffs his armpits. -RRB- Not me. They keep the Berserkers down there. Mad bastards. They'll rip your head off and shit down your neck. LORI Boone went this way, right? NARCISSE And wo n't be coming back. LORI I'll bring him. NARCISSE You think love can raise the dead? LORI He's not dead. NARCISSE He's that and more. If you do n't believe me, you wait'til he gets to sniff a little blood. That'll bring out the beast in him. I'm telling you, do n't go. LORI I have to. Nothing makes any sense without him. NARCISSE Sense? Who needs it? Lori moves off down the corridor. Ohnaka follows her. NARCISSE -LRB- to Ohnaka. -RRB- Love those tattoos.", "INT. BERSERKERS' CORRIDOR Lori starts down the corridor, the walls of which are cracked wide in places, the gaps covered with chains. From the other side she hears grunts and growls. Then, to her shock, one of the Berserkers' arms reaches up from a grille in the floor and snatches at her leg. She steps aside to avoid it, and another of the Berserkers' arms reaches through the mesh of chains, taking hold of her by the neck. It starts to choke her. She shouts for help. Ohnaka, Lylesburg's fool, appears from down the corridor. He starts to rattle the chains further along the wall. OHNAKA Hey, Ghost! Hey, Slaughter! Come and get me! Come and get me! The arm around Lori's neck releases its hold, and we hear the sound of the creatures moving along the walls in Ohnaka's direction. OHNAKA Fat - asses! Suddenly, arms reach for him through the chains. He steps away just in time. OHNAKA Missed! He grins at Lori, proud of himself. LORI Where's Boone? OHNAKA This way! He starts to lead her towards Baphomet's chamber.", "INT. OUTSIDE BAPHOMET'S CHAMBER Ohnaka and Lori reach the next to last chamber ; a roaring from below, down a slope in front of them, walls vibrating with the din from Baphomet's chamber. Ohnaka withdraws. Blindingly bright light, out of which Lori spots a figure climbing towards them. LORI Boone? Boone! She moves down to Boone, scrambling up the slope towards her, drenched in sweat, half - mad with terror. BOONE Do n't. do n't look. He reaches for her, then collapses. She starts down the slope to him. Dust falls from the roof, the din makes her reel. But she reaches him, starts to haul him to his feet. Then, she looks up and we get a glimpse of.", "INT. BAPHOMET'S CHAMBER Out of the blinding light, and seemingly the source of it, a huge, black figure turns towards her, twelve feet high, severed limbs connected by sinews of hot, white energy and extruded spines, the face terrible, wise and beautiful. Lori's stunned, she averts her eyes. Boone collects himself enough to pull her away and they help each other frantically scrabble up the slope, out of the chamber.", "INT. OUTSIDE BAPHOMET'S CHAMBER As Lori and Boone emerge, Ohnaka appears and beckons them to follow. Too exhausted and frightened to speak, Boone and Lori follow.", "INT. MIDIAN CENTRAL CORE Ominous rumblings urge them on, as Boone and Lori make a stumbling ascent through the core, trailing Ohnaka's urgent lead, watched from the doorways by a variety of creatures. We cut to the ledge, and move to a chamber, where Peloquin and Shuna Sassi are making love. Peloquin hears Lori urging Boone on as they struggle across the bridge, and looks away from Shuna, out through the door. PELOQUIN Well, well. He goes to the door. PELOQUIN -LRB- cont. -RRB- Guess he could n't take the heat. SHUNA SASSI I dreamt him. He's strong. PELOQUIN That's only because the bite was mine. SHUNA SASSI No, do n't you see? He's the one from the prophesies. Cabal. The seventh saviour. PELOQUIN So why's he leaving? SHUNA SASSI Everything has its purpose. Maybe he has n't learned to hate his tribe enough. He'll be back. Peloquin kisses her. PELOQUIN Why die waiting?", "EXT. NECROPOLIS DAY The sun climbs over the horizon, sunlight penetrates the graveyard. A mausoleum door creaks open, Lori and Boone rush out into the open air. Lori tries to lead Boone away, he squints painfully against the early light. BOONE No, no, I belong here. LORI -LRB- grabs him. -RRB- Bullshit! Boone, Boone, listen to me - you belong with me, that's why you lived, that's why we survived, because we belong together. Ohnaka swings the door shut behind them. Boone sees Lori, as if for the first time. She takes his hand, presses it to her face, her breast. LORI -LRB- cont. -RRB- This is me. This is why I followed you, this is what we're living for. His eyes clear. A part of him seems to return. He embraces her. BOONE Lori. LORI They do n't need you. Nobody needs you but me. We'll go away, far away, where no - one will ever find us. I love you. They hold each other.", "EXT. NECROPOLIS DAY Boone and Lori - two small figures, alone among the sepulchres. They move towards the gate together.", "EXT. SWEETGRASS INN DAY Empty streets. No activity. Lori's car pulls into the parking lot.", "INT. LORI'S CAR DAY Lori turns to Boone, slumped down in the passenger seat, out of sight, wearing sunglasses. LORI I'll get my stuff, I'll be back in two minutes. BOONE Do n't leave me alone. LORI Boone. BOONE -LRB- fiercely. -RRB- No! LORI -LRB- calmly -- trying to hide her alarm. -RRB- Okay. We'll go in together. She hands him the Buffalo Days hat and opens the door.", "EXT. PHONE BOOTH DAY From a phone booth across the street we see Lori and Boone move towards the motel entrance. In foreground, a chain - mailed hand picks up the phone and dials.", "INT. SWEETGRASS INN DAY Boone and Lori enter the corridor that leads to her room. Eerie silence, save for a dog yapping somewhere. Boone stops. Alarmed, she turns to him. LORI -LRB- whispers. -RRB- What's wrong? BOONE Why is it so empty? LORI They must be at the rodeo. She hurries on, Boone follows, clearly disturbed. Lori unlocks her door, glancing back at Boone, who has taken off his sunglasses. There is something strange about the light in his eyes. A subtle wave of colour passes across his face. BOONE I smell blood. LORI What? BOONE So much blood. She swings the door open. We expect a horror. Nothing. An ordinary room. LORI It's okay.", "INT. MOTEL LORI'S ROOM DAY Lori enters and quickly gathers her belongings together. Boone, sweating with terror, slides down the wall into a squatting position. As Lori packs, she looks down, sees a hole in the wall, the result of some massive violence from the other side. She cautiously leans down, peers through the hole and quickly retreats, hand over mouth, horrified by what she's seen. LORI Boone? Boone appears at the door. LORI -LRB- cont. -RRB- Next door. Boone goes next door and turns the handle.", "INT. MOTEL MURDER ROOM DAY Boone pushes the door open. Inside, a massacre : five dead card players, propped up around a poker table in a sick parody of a poker game tableau ; throats slit, Buffalo Hats on their heads. Sitting in the middle of the table, a tall, elaborate house of cards. Boone moves into the middle of the room. On his face we can see the hunger he feels. Ripples of color begin to move over his features. He moves towards the corpses. as he does so, we hear a nearly deafening sound from outside. the vibrations knock over the house of cards and.", "EXT. SWEETGRASS INN DAY Into the empty street, a helicopter descends, discharging Lieutenant Joyce and a platoon of heavily armed Swat Team cops. Local police cars pour in. Captain Eigerman climbs out of his cruiser to survey the siege. Decker introduces him to Joyce. Sharpshooters take up positions, training their weapons on the motel, as the Swat Team moves in.", "INT. MOTEL CORRIDOR DAY Lori moves to the door of the murder room. Boone is inside, his back to her. LORI It was Decker. Decker did this. In foreground, Boone's face begins to transform, which Lori ca n't see. She hears the cops outside. LORI -LRB- cont. -RRB- Boone, we have to get out of here. BOONE Stay away from me. LORI Boone, what is it? BOONE I do n't want you to see. LORI See what? BOONE Get out! Do as I say! LORI I wo n't leave you. As she crosses towards him, he turns. His face is in mid - transformation.", "EXT. SWEETGRASS INN DAY Lori's scream echoes outside the motel. Joyce orders in the Swat Team. They charge, entering the motel.", "INT. MOTEL CORRIDOR DAY Lori backs out of the room in horror. LORI Oh my God. oh my God. She hears cops charging up the stairs. LORI -LRB- cont. -RRB- Boone! They're coming! MOTEL MURDER ROOM DAY The transformed Boone covers his face, slams the room door shut and moves towards the bodies. Lori hides at the end of the corridor as the Swat cops appear at the far end. On his knees, in the middle of some frenzied action we ca n't quite see, Boone stops and looks down at his blood - stained hands. BOONE No. No. Out of sight, Lori watches the cops prepare to storm the room.", "INT. MOTEL BATHROOM DAY Boone enters the bathroom with the sound of the Swat Team's entry to the motel on the track. He slams the door. There is blood on his face and hands. He goes to the sink and turns on the tap. Then he sees himself in the mirror, his transformed face is a shock, He looks at himself, appalled. Then a wave of nausea overtakes him. He throws up into the sink ; a splash of blood and flesh he's just eaten. Wiping his mouth with the back of his hands he starts to breathe out his condition. His face transforms back to his normal state. He makes a sob of horror. SWAT LEADER -LRB- V.O. -RRB- In here! Boone looks towards the door, sinking down against the tiles as he does so. The door is flung open. We see him cowering as the Swat Team come for him.", "EXT. SWEETGRASS INN DAY Under cover of the trees and cars around the motel, Lori hides in a place where she can view the front of the building. She sees Eigerman talking with Joyce, Decker behind them. They look up as the Swat cops manhandle a hand - cuffed Boone out of the building. He has totally reverted to human form, the blood - stains seemingly a sure proof of guilt. Lori watches as he's thrown into a police car and driven off.", "INT. SHERE NECK POLICE STATION DAY A clank of keys opening locks. A steel door swings open. Three cops rough - house Boone down the corridor, Eigerman right behind, passing other cells holding prisoners watching them go by. We hold on one, a young fundamentalist Baptist preacher, Reverend Ashberry. He has haunted, maniacally repressed eyes and the ragged look of a habitual drunk.", "INT. POLICE STATION CELL DAY Boone is thrown into the cell. Eigerman and the three cops, Labowitz, Sergeant Pettine and Gibbs, all practised hard guys, enter the cell after him. EIGERMAN Fuckin' freak! Fuckin' cannibal! -LRB- to his men. -RRB- Stand him up! They haul Boone to his feet. Eigerman hits Boone with a wicked blackjack. EIGERMAN -LRB- cont. -RRB- You picked the wrong town, boy. We believe in real justice here. -LRB- a blow is delivered. -RRB- They're gon na take you back to the city. -LRB- another blow. -RRB-. but we're gon na leave you with something. -LRB- another blow. -RRB-. to remember. -LRB- another. -RRB-. us. by! Boone sags to the ground, unconscious.", "INT. ASHBERRY'S CELL DAY As the sound of Boone being beaten up filters through the wall, Ashberry sits in his cell, Bible in hand. He flicks the pages over, attempting to distance himself from the violence he hears with study. He halts at a page with an illustration. It is something from Revelations : monsters and demons doing battle with angels. He puts the book down, and turns over his palm. It is a mass of tiny scars. He closes his hand into a white - knuckled fist, retreating into the shadows in the corner of his cell. We cutback to his hand. Blood seeps between the fingers, as his nails dig into the meat of his palm.", "INT. EIGERMAN'S OFFICE DAY Eigerman enters. Decker is standing looking at Eigerman's collection of photographs. EIGERMAN You still here? DECKER I'm going back to Midian with you. EIGERMAN I'm not going anywhere. We got press folks and photographers coming in from all over. Would n't be polite to keep'em waiting. Eigerman starts to exit again. Joyce is in the doorway. EIGERMAN Tell him. We got our man under lock and key. DECKER Do n't trust him. He. he. changes. I've seen him. EIGERMAN I'll keep an eye out. JOYCE He was right about the motel. EIGERMAN So? JOYCE So maybe there are more of them. EIGERMAN Monsters? JOYCE Killers. A cult. I do n't know. EIGERMAN You want to take some of the boys, take'em Pettine? PETTINE Yes, Sir - EIGERMAN You, Tommy and Gibbs, take the Inspector out to the cemetery. Dig around. If you find anything with more two eyes, holler. I got photographers wanting me. He exits.", "INT. BOONE'S CELL DAY Badly beaten, Boone lies in the corner, stirring when he hears the door unlocked. Labowitz ushers in a middle - aged, small - town physician, Doctor Rose. LABOWITZ Doctor's here to examine you, freak. Just so nobody can say we laid a finger on you. -LRB- he winks at Rose. -RRB- Looks okay to me, what do you think, Doc? Boone painfully pulls himself upright. Looks up at Dr Rose, who slips on his stethoscope, listens to Boone's chest. He moves it, listens, moves it again, alarmed. He takes Boone's wrist, feels around. Boone stares at him. Dr Rose clears his throat, rises, moves to Labowitz at the door and speaks quietly. DR ROSE No pulse. LABOWITZ What's that? DR ROSE No. pulse.", "EXT. POLICE STATION DAY A crowd of journalists and on - lookers mill outside the station. We find Lori, following her through the crowd as she tries to get a view of the building. As she watches, Joyce and his three - cop escort climb into two police cars and drive off.", "INT. POLICE STATION DAY An impromptu press conference, with Eigerman centre stage, standing at a table laced with tape recorders and microphones. Behind him, a map of the town, with coloured pins and a blackboard drawing of the Sweetgrass Inn, including a diagram of where the bodies were found. Eigerman adores the attention. EIGERMAN Yes he may have had accomplices but I ca n't reveal the precise source of my information on that. 1ST REPORTER Local source, Captain? EIGERMAN -LRB- a glance at Decker in the crowd. -RRB- Not so's you'd notice. 2ND REPORTER Has Boone made a confession? EIGERMAN We found him with a piece of human flesh in his mouth. How's that for guilty? Cameras flash furiously. We see Labowitz leading Dr Rose through the crowd to the podium. Labowitz reaches Eigerman and whispers in his ear. Eigerman makes him repeat it. His brow knits in puzzlement. He turns to the press and smiles. EIGERMAN -LRB- cont. -RRB- ` Scuse me, folks, wo n't be a second. Eigerman points a beckoning finger at Decker, who follows him into his office, along with Labowitz and Dr Rose.", "INT. EIGERMAN'S OFFICE DAY Eigerman closes the door and turns to Decker. EIGERMAN Just exactly how many bullets did they put into this geek up at Midian? DECKER Why? DR ROSE -LRB- severely shaken. -RRB- Half of them are still in him. In fact, he's riddled with them. DECKER As I told you, these are n't ordinary people. You're saying he should be dead? DR ROSE No, I'm saying he is dead. DECKER When? EIGERMAN Not lying down dead, friend. Walkin' around in my fucking cell dead. Now what about that? Decker's shaken. He grips his briefcase tightly.", "INT. BOONE'S CELL DAY Boone sits in his cell, head down, expression masked, eyes moving restlessly.", "INT. ASHBERRY'S CELL DAY Ashberry is sitting half in shadow and half in light. His eyes carry the half - buried mania that we'll see erupt later on. He puts his head against the wall and speaks softly to Boone, his tone intensifying as his feelings take stronger hold. ASHBERRY Can you hear me? They'll find a way to kill you, you know that? Ca n't fight the darkness. Not when it's inside you. Are you listening? You're an abomination, Boone. You have to die. There's lots of ways. I've read about them. Seen them when I sleep. Horrible. HEAR ME? He suddenly slams his bloody hand against the wall. ASHBERRY Have you got a God, Boone? Any God'll do. I had one, but. he does n't listen any more. I ask him to take the dreams away but they keep coming. Blood and fire. Like the end of the world. We move from Ashberry's stricken face to the bloody mark his hand left in the wall. It vaguely resembles something we recognize : Baphomet's head.", "EXT. SHERE NECK STREET DAY Lori emerges from a supermarket with food to eat. She walks into a small square, finds a seat and sits down to eat. As she reaches into the bag : BABETTE -LRB- V.O. -RRB- : Lori? She looks round. The voice sounded real. No sign of Babette. BABETTE -LRB- V.O. - cont. -RRB- Lori. close your eyes. LORI -LRB- frightened. -RRB- Where are you? BABETTE -LRB- V.O. -RRB- Please, do as I say. Lori closes her eyes.", "INT. SKULL CHAMBER CENTRE CORE Lori and Babette's P.O.V. - darkness. BABETTE -LRB- V.O. -RRB- Be with me. be with me. Dim light. We're in the Midian skull chamber, seeing it through Babette's eyes. Their voices merge into one. LORI/BABETTE -LRB- V.O. -RRB- where am I? What's happening to me? Rachel steps into view, and looks directly down at the camera. RACHEL What is it, child?", "EXT. SHERE NECK STREET DAY Lori's eyes spring open. She's terrified. BABETTE -LRB- V.O. -RRB- Lori! Comeback! Lori closes her eyes again and we click back into.", "EXT. SHERE NECK STREET DAY Lori and Babette's P.O.V. - we see Babette's view of Rachel. LORI/BABETTE -LRB- V.O. -RRB- Is this real? RACHEL -LRB- whispers. -RRB- What are you talking about? Babette? -LRB- grips Babette. -RRB- What have you done? LORI/BABETTE -LRB- V.O. -RRB- I've brought her, to see. She's in me. Babette breaks away, Rachel tries to catch hold, Babette runs. P.O.V. camera veers around and down through the maze of Midian.", "EXT. SHERE NECK STREET DAY Eyes closed on the bench, Lori gasps as the journey snatches her up.", "INT. CENTRAL CORE Lori and Babette's P.O.V. - Babette races over a rope - bridge. We see it all through her eyes, her hands coming occasionally into view. We head down a narrow tunnel and into a small chamber, which is Babette's hidehole. We scan the treasures she keeps there : a doll made of grasses ; birds' skulls ; pretty stones. We hear voices from above and we look up at a steel grille, facing out on the surface.", "EXT. NECROPOLIS DAY Pushing closer to the grille we see. Joyce, Pettine, Tommy and Gibbs, wandering through the Necropolis, armed to the hilt. Only Joyce carries no weapon. PETTINE Christ, you could hide a fuckin' army in here. TOMMY What egg - zactly are we lookin' for, Sarge? TOMMY -LRB- spits some tobacco juice on a tomb. -RRB- We're here to kick some major - league butt. JOYCE -LRB- distrusts these throwbacks. -RRB- We're here to scout, not engage TOMMY Well what if they engage us? What about that? PETTINE There's people down there, I can feel it. Lori/Babette gasps, Pettine hears the sound and walks over to the grille. TOMMY Why do n't we just shoot'em in their graves? Save us diggin' new ones. -LRB- giggles - fires at one of the tombs. -RRB- JOYCE -LRB- angry. -RRB- Hold your fire! PETTINE We want prisoners, Tommy. Pettine goes down on his haunches beside the grille, runs the muzzle of his gun along it. P.O.V. camera withdraws into the shadows. He shakes his head and.", "EXT. NECROPOLIS DAY We cut out of the P.O.V. as Pettine stands. PETTINE There's something down there all right. JOYCE If that's the case we'll call for back - up. Pettine spots a movement in the shadows of a half - open mausoleum door. He catches Gibbs' eye, nods in the direction of the door, Gibbs gets the idea and starts to back towards the tomb. PETTINE -LRB- a performance. -RRB- I do n't know. Maybe we're just spooked. Hell, who'd live in a graveyard, anyway? -LRB- crossing towards Gibbs. -RRB- What do you say, Lieutenant? Maybe we oughta just pack it in. head for home. He and Gibbs rush the door of the tomb ; there's a cry of surprise from inside.", "EXT. NECROPOLIS DAY Lori and Babette's P.O.V. - Camera glides back up to the grille in time to see Gibbs and Pettine drag Ohnaka out of darkness and into the sunlight where he lacks the strength to resist. TOMMY Well, lookee what we got here. Tommy strikes Ohnaka with a rifle butt, knocking him to his knees.", "EXT. NECROPOLIS DAY As the cops circle around Ohnaka, he moans, puts his head down and covers his face with his hands. GIBBS Shit. Do n't look so tough to me. PETTINE Want we should interrogate it, Lieutenant? JOYCE -LRB- amazed. -RRB- Give it some room. In the sunlight, Ohnaka's naked back begins to smoke and blister. GIBBS What the hell for? JOYCE God damn it! There's something wrong with him. TOMMY -LRB- disgusted. -RRB- Shit. PETTINE What the fuck is this? Gibbs, unfazed, steps up to Ohnaka and kicks the creature over. GIBBS We want answers, asshole! JOYCE Back off, Gibbs! Gibbs ignores him, trying to drag Ohnaka's hands away from his face.", "EXT. NECROPOLIS DAY Lori and Babette's P.O.V. - Watching the knot of men around the defenceless Ohnaka. LORI/BABETTE -LRB- V.O. -RRB- The light.", "EXT. NECROPOLIS DAY Gibbs rifle - butts Ohnaka's hands, then pulls them away from his face ; the features are horribly disfigured, blood running from his eyes, scorched by the sun. Now even Gibbs tries to back away, but Ohnaka grabs hold of his shirt. GIBBS Shit! Shit! Get it off me! Tommy! TOMMY No way, man! Pettine fires his piece at Ohnaka, hitting him in the belly and arm, but he still holds on, throwing back his head and howling. Smoke rises from his entire body, dust pours from his veins. The howl becomes a high - pitched whine and he explodes, in a burst of dust and black blood.", "EXT. NECROPOLIS DAY Lori and Babette's P.O.V. - They see Ohnaka die.", "EXT. SHERE NECK STREET DAY Lori opens her eyes, which are running with tears. LORI Oh my God. oh my God. She stands up, her hand to her mouth.", "EXT. NECROPOLIS DAY Lori and Babette's P.O.V. - Babette's trembling hands hold onto the grille as she watches. BABETTE -LRB- V.O. -RRB- Lori, do n't leave, please do n't leave me.", "EXT. NECROPOLIS DAY The cops stare in disbelief at Ohnaka's dusty remains. PETTINE Jesus. d'you see that fucker's face? JOYCE It was the sun. The sun did it. GIBBS Christ on a crutch. JOYCE Man, that tears it, I'm calling the fuckin' chief. Gibbs raises a trembling match to his cigarette as Tommy heads back to the cars. GIBBS Could n't have been just. just the sun. JOYCE Believe it, shithead. PETTINE -LRB- grinning. -RRB- So if all it takes is the sun, we got the perfect weapon, right over our heads. JOYCE Until it goes down. Pettine's smile fades. Then a cry of alarm from the distance. TOMMY -LRB- V.O. -RRB- Oh no! Shit! Pettine! Goddamn it! The men rush to the gate.", "EXT. NECROPOLIS GATES DAY The two police cars are on fire. The other cops reach them, Pettine reaches into the one less involved in flame and pulls out the radio microphone. JOYCE Who did it, did you see anyone? Tommy shakes his head. They all look up, hearing a distant car engine.", "EXT./INT. BEAT-UP CAR DAY Wearing a hat and dark glasses, laughing, Narcisse drives this old clunker like a maniac, takes a large cigar out of his mouth. He strikes a match off a thumb hook and lights up. In the back, protected from sunlight by shades on the windows, is Rachel.", "INT. POLICE STATION TOILET DAY The door opens, a panicked Labowitz enters. LABOWITZ Chief, come quick. EIGERMAN -LRB- from inside a stall. -RRB- This better be good. LABOWITZ Pettine's on the radio, they're under attack. EIGERMAN Hot damn, we got contact! He bursts out of the stall, hitching his trousers.", "INT. EIGERMAN'S OFFICE DAY Eigerman enters, takes the two - way receiver. Behind him, Decker, Labowitz and Kane enter the office. EIGERMAN Pettine, what's your situation.", "EXT. NECROPOLIS", "INT. EIGERMAN'S OFFICE DAY Pettine on the radio, as the others try to keep back the flames. PETTINE -LRB- into radio. -RRB- The place is crawling with'em. they torched our cars. fuckin' freaks! The transmission breaks up. Eigerman turns to the others in the room. EIGERMAN -LRB- joyfully. -RRB- Sound the call, boys, let the bells of freedom ring, we got to mobilize. Decker affectionately runs his hand over his briefcase.", "EXT. SHERENECK STREET DAY Lori moves down the street, blinking through tears. BABETTE -LRB- V.O. -RRB- I'm afraid. LORI I have to go, Babette, I have to get help. I'll be back, I promise. You hide somewhere. The connection fades. Lori wipes the tears from her cheeks.", "INT. POLICE STATION DAY The crowd and journalists still hanging around ; Eigerman throws the door open. EIGERMAN Listen up! We got officers under attack, I need volunteers for a posse! Y' all sign up with Officer Labowitz here! He moves back towards the office, as Labowitz, clipboard in hand, is besieged with offers.", "INT. EIGERMAN'S OFFICE DAY Decker is sitting with his briefcase open on his lap, gazing AFFECTIONATELY at the button head mask inside. He snaps the case shut as Eigerman re - enters, followed by the silent Kane. Eigerman digs a key out of his desk. EIGERMAN If you're gon na make an omelette you have to break eggs, is n't that right, Professor? DECKER -LRB- does n't follow. -RRB- Sorry? EIGERMAN Christmas comes early this year.", "INT. POLICE STATION STORAGE ROOM DAY Eigerman leads Decker, Kane and another cop down into the bowels of the station. He unlocks a door and switches on a light. Warehoused inside is a virtual arsenal in a number of packing crates stencilled with a martial insignia and the name : SONS OF THE FREE SHERE NECK BRIGADE' The crates are also stamped with their countries of origin : South Africa and the Soviet Union. EIGERMAN Ounce a' prevention is worth a pound a' cure. Save for a rainy day, one day that day will come. Do n't matter if it's Commies, homos, freaks or Japs, we are ready. World class ordnance, Doc : the best private sector money can buy. Kane, with a clipboard, goes over supplies with the other cop. KANE -LRB- over above -- in his element. -RRB- Okay. We got your spankin' new G3 thirty - odd - six Springfield semi - auto with roller - lock action and retractable stock. For standard carbine firepower, you ca n't beat this match - accurate Galil AR 7.62 NATO assault rifle and for the sportsman in the crowd we carry this handy, double - pump, Mossberg Persuader, sling swivels double extractors, which also comes in a light - weight single - barrel size for ladies and juniors - DECKER Marvelous, really, but - KANE Now over here we're talkin' Damascus, high - carbon Spetnatz shootin' knives, and for that tough up - close - and - personal work, you can always count on your razor - wire/fishing - line garotte when nuthin' else will do -- DECKER -LRB- over Kane. -RRB- Captain, have you considered the possibility that knives and bullets wo n't be adequate to the task? EIGERMAN Show him, Kane. KANE -LRB- pulling off a shroud to unveil. -RRB- That's why we bought these cherry Israeli Army high - octane linear - field flame throwers. EIGERMAN Now I know what you're thinkin', Doc ; maybe there's some sort' a spiritual angle to all this. Well, we got that covered, too.", "INT. POLICE STATION CELLS NIGHT A cell door swings open. Decker and Eigerman look in on the Baptist preacher, Reverend Ashberry. EIGERMAN Reverend Ashberry, your services are required. DECKER He looks like a drunk. EIGERMAN He is ; lost his way, poor bastard. -LRB- hauling Ashberry to his feet. -RRB- You would n't wan na miss the Day of Judgment, now would you? ASHBERRY -LRB- seems he's been waiting for this. -RRB- The Apocalypse? It's here? EIGERMAN They're warming up for it over in Midian. -LRB- leading him out. -RRB- Padre, you get your pious butt over to church and load up on some Holy Water and crucifixes. we're goin' in there with God on our side.", "EXT. POLICE STATION DAY Boone looks out the window of his cell as a large, unruly posse musters outside in a variety of vehicles. A mix of survivalist fanatics in Sons of the Free - labelled camouflage, Marlboro Men with six - shooters, red - neck bozos with their diesel - dyke mamas and heavily made - up bimbos out for a good time. The atmosphere is one of near carnival. Accoutred for combat, Kane and some other cops distribute the weapons. Boone slumps away from the window, his worst fears realized. Reverend Ashberry arrives, lugging six full canteens and an arm - load of crucifixes. He loads into the back of an enclosed, high - tech camper with Eigerman and Decker. Eigerman blows an air - horn, claiming the crowd's attention. EIGERMAN You are all hereby deputized in the name of the law. Now let's kick some ass! Eigerman's truck leads the caravan, which drives off, horns honking, war whoops and liquor - fuelled courage. As the dust clears now, left more or less alone, Lori looks at the police station. A beat - up car squeals to a halt in front of her and the front door opens. NARCISSE Hey, chickie, want a ride? LORI No. RACHEL Please. Lori sees Rachel and gets in the car.", "INT. BEAT-UP CAR DAY Narcisse drives around the block, smoking his cigar. NARCISSE We have to get Boone out, Midian needs him. LORI What could he do? RACHEL He went into Baphomet's chamber. He spoke with the Baptiser. NARCISSE And survived ; nobody ever did that before. RACHEL Perhaps Baphomet told him something, something that could save Midian. NARCISSE Where they keeping him? LORI Inside somewhere. He'll be guarded. RACHEL He has powers of his own. LORI Tell me about it ; what's happened to him? NARCISSE He was bitten by a Nightbreed, see, the taint's in his system. RACHEL Boone has been turned, he's one of us. LORI Okay. So what you're saying is, you're saying he's dead. NARCISSE Hey, some of my best friends are dead. LORI -LRB- horrified. -RRB- I'm going out of my mind. NARCISSE -LRB- to Rachel. -RRB- See? I told you she'd take it well.", "EXT. HIGHWAY DAY The posse heads down the road, whoops and hollers emerging from the dust cloud it kicks up.", "INT. CAB OF EIGERMAN'S TRUCK DAY Eigerman cleans his silver - plate Magnum.45, Decker sits beside him holding his briefcase, across from Ashberry, who's frantically paging through an ancient Bible. EIGERMAN Ever performed an exorcism, Father? ASHBERRY No. EIGERMAN Ever seen one? ASHBERRY No. EIGERMAN Well I'd start rehearsin' if I was you. -LRB- hands a gun towards Decker. -RRB- Why do n't you hang on to that, Doc? DECKER -LRB- a little prim. -RRB- Oh no, I would n't know how to use it. ASHBERRY -LRB- finds something in the book, reads. -RRB- Listen! ` So Moses spoke to the people, saying `` Arm yourselves for war and let them go and take vengeance for the Lord on Midian.'' and so they burned with fire all the cities where they dwelt and killed the kings of Midian, both man and beast!' EIGERMAN -LRB- with a wink. -RRB- Hey, how ` bout that, Doc? Sounds like we're on a crusade against the Devil himself. ASHBERRY -LRB- not terribly convincing. -RRB- I do n't believe in the Devil. DECKER Oh. you will. Ashberry looks at Decker ; no trace of irony in his expression. Ashberry sorts through the canteens, finds the one that does n't have a white cross on it, opens it and knocks back two fingers of bourbon.", "EXT. SHERE NECK POLICE STATION DAY The sun sinking low in the sky. The shadows are long.", "INT. POLICE STATION CELL CORRIDOR DAY The station is eerily quiet. Labowitz and an Irish cop, Connie Cormack, guard the cells. Two other cops patrol the end of the corridor. All heavily armed. Labowitz moves to the door of Boone's cell.", "INT. BOONE'S CELL DAY The spy - hole cover is open. Boone looks up. LABOWITZ -LRB- from other side of door. -RRB- Hey, freak - face, we found your pals. They're gon na fry, just like you. Give us a smile now. Boone stares at the floor, depressed, defeated.", "INT. CELL CORRIDOR/OFFICE DAY Labowitz chuckles and closes the spy - hole. He walks back down to the coffee station near Eigerman's office, where Cormack is pouring two cups. He takes out a flask, spikes his mug and offers some to Labowitz. CORMACK Little Irish in your joe, Constable Labowitz? LABOWITZ -LRB- a bad brogue. -RRB- Do n't mind if I do, Constable Cormack. There is a knock on the station door. They look at each other. Cormack picks up his gun and crosses to the door. CORMACK Who's there? RACHEL -LRB- O.S. -RRB- Help me, please. CORMACK What's wrong? RACHEL -LRB- O.S. -RRB- Accident. We need help. Cormack decides to unbolt the door. On the step stands Rachel, shrouded in black veils. Only her eyes are visible. They fix Cormack. CORMACK What's the problem, lady? She drops the veil. The other half of her face has disappeared into smoke. CORMACK -LRB- cont. -RRB- What the blazes? Her costume falls to the ground. Her eyes dissolve. As smoke, Rachel blows into the station. Cormack fires through the smoke, yelling as he does so. LABOWITZ -LRB- running towards the cell. -RRB- Hold'em, Connie!", "INT. CELL CORRIDOR DAY The two other cops hear the shot and run towards the station. Labowitz runs back in with them before they get there, slams and bolts the door. LABOWITZ -LRB- to the other cops. -RRB- Hold your ground! -LRB- yells through the door. -RRB- Cormack? You all right?", "INT. POLICE STATION DAY Cormack turns back towards the door, sees Narcisse, screams and fires twice. Narcisse flips one of the bullets out of his chest with a thumb - nail, then leaps onto Cormack, who manages to shoot himself in the foot. Lori enters, slams the door and locks it. Narcisse squats over Cormack, holds his razor - nails under his chin. NARCISSE Where is he? Where's Boone? CORMACK Cell f - f - f - five. through the door. NARCISSE -LRB- grins at Lori. -RRB- I love a coward.", "INT. CELL CORRIDOR DOOR DAY Labowitz and the other cops confidently prepare for a siege. LABOWITZ -LRB- calling back to Boone. -RRB- Do n't think you're getting sprung, freak. No way they get through that door ; solid steel, armour - piercing shells would n't even make a dent. Smoke seeps through the key - hole, and from beneath the connecting door. LABOWITZ -LRB- cont. -RRB- You hear me, freak? No fuckin' way! The smoke from the key - hole begins to form into a face, which floats on a cord of smoke/flesh from the key - hole. The smoke from beneath the door forms into breasts and rib cage, in which a heart beats. Labowitz turns and sees it. LABOWITZ -LRB- cont. -RRB- Jesus Christ. He empties his gun through the smoke ; the two cops on the other side of the smoke are hit and go down. An arm moves towards Labowitz ; so does Rachel's face. Her beauty mesmerizes him. Her naked breasts, which float beneath the head, barely connected to it as yet, enchant him even more. RACHEL Come closer. I do n't want to kill you. Her hand presses Labowitz's rifle aside. Rachel's lips touch him. He does n't resist, but once his mouth is sealed against hers he ca n't breathe. He tries to raise the rifle, but she dashes it from his hand. Then she snatches the keys from his belt and breaks the kiss. He falls to his knees, gasping. Her body completed and naked, Rachel unlocks the connecting door, then starts looking for Boone. Behind her, as Labowitz reaches for his gun, Narcisse's hand reaches in and grabs his throat. NARCISSE Naughty, naughty. Labowitz looks up into Narcisse's scarred face and faints. Lori steps past Labowitz to the cell Rachel directs her towards. RACHEL We do n't have much time. LORI I know. Lori unlocks the door.", "INT. BOONE'S CELL DAY LORI -LRB- nervous. -RRB- Boone? BOONE -LRB- wakes. -RRB- Stay away from me. I'll hurt you. LORI I do n't think so. BOONE You know what I did in that room? I'm a goddamn cannibal. Stay away! LORI They're going to come for you. BOONE Let them. Let them find some way to kill me. LORI You ca n't die. Midian needs you. BOONE Midian's just a hole in the ground. It's full of things that should lie down and stay dead. LORI All right. If not for the Breed, then for me. You ca n't give up on us. BOONE You talk like you're one of them. LORI Maybe I wish I was. Some little part of me. -LRB- she puts her hand on his face. -RRB- All I know is, I'm not afraid of you. I know I should be, but I'm not. I still want you, whatever you are. And I'm not going to leave you. If they come for you, then they'll have to kill me too. BOONE No! LORI So fight. For both of us. For all of us. I do n't want to be dust. I want us flesh and blood. Kiss me. I love you. He kisses her. First tentatively, then with great passion.", "INT. CELL CORRIDOR DAY Narcisse knocks, calls through the door. NARCISSE What the hell are you doing in there?", "INT. BOONE'S CELL DAY Fucking, is the answer. They are wound around each other : licking, biting, gasping. Boone thrusts up into her. LORI Yes. yes! NARCISSE -LRB- to himself. -RRB- Jesus. Bastard does better dead than I did alive.", "INT. POLICE STATION DAY The connecting door flies open, a rejuvenated Boone and Lori move into the office where Narcisse and Rachel are waiting. Narcisse toys with the unconscious Cormack. RACHEL Are we going? NARCISSE About time. BOONE Midian. NARCISSE All right. BOONE It's about time they saw the truth.", "EXT. NECROPOLIS GATES LATE AFTERNOON Gibbs, Joyce, Tommy and Pettine wait outside the gates. Pettine paces. Joyce looks at his watch, moves over to Pettine and speaks quietly. JOYCE How long until dark? PETTINE Two hours. Two and a half. I told'em to bring gasoline. We'll burn the bastards out. JOYCE Has it occurred to you maybe we've got this all wrong? We could be destroying. I do n't know, a whole new species. PETTINE You saw that fucker below, Lieutenant, same as me. That damn thing was just too weird to live. JOYCE Maybe they're just different. PETTINE Is n't that enough reason? Joyce stares at him. In background, Tommy starts to holler. Pettine calls. PETTINE -LRB- cont. -RRB- What is it? Tommy is pointing frantically at a dust cloud in the distance.", "EXT. ROAD TO MIDIAN LATE AFTERNOON A violent cut to the roar of engines as we track with the fast - moving posse. Eigerman stands up out of a skylight in the cab of his truck, eggs on the other vehicles with a rebel war cry. EIGERMAN Yee - hah!", "EXT. NECROPOLIS GATES LATE AFTERNOON As the caravan appears. Ecstasy. Tommy and Gibbs dance a jig together. GIBBS It's the fuckin' cavalry! The posse speeds down towards the Necropolis gates.", "EXT. ROAD TO MIDIAN", "INT. CAR DUSK Narcisse's beat - up car speeds down the highway towards Midian. BOONE How much further? NARCISSE A mile, maybe two. We close in on Rachel, who stares ahead of her, as if in a trance. RACHEL We're too late. NARCISSE Hang on! Steering hard, he veers the car off the road and into thick woods. Branches thrash against the windshield. NARCISSE -LRB- cont. -RRB- This is a shortcut!", "EXT. NECROPOLIS DUSK The posse is busily at work around the Necropolis, Eigerman and Kane supervising. Some are laying trails of gasoline through the pathways. Others are simply patrolling, guns in hand. There is an air of nervous anticipation. Ashberry comes round a tomb and we follow him down a walkway, staring in awe at the mausoleums and statuary. Looking at a particularly large tomb, Ashberry's eye is captivated by a large, fantastically rendered marble winged angel. He approaches it, reaches up to touch it. The angel, a monster, turns to look at him with sad, impassive gravity. Then we see its shadow on Ashberry's face and hear the slow, thick beating of its wings as it flies off. Ashberry's stunned. He fumbles the top of his bourbon canteen off, takes a long drink, then stops when he sees a load of dynamite taped to the side of the tomb. He follows the wire that leads off it to another dynamite pack on an adjacent tomb and then another. He's panicked.", "EXT. NECROPOLIS DUSK Kane is escorting Eigerman and Pettine down a pathway, pointing out the posse's handiwork. KANE packets of plastique at every intersection, trip wires outside the biggest tombs, we figure those'll be the major escape routes. EIGERMAN How much longer? KANE Five minutes. EIGERMAN -LRB- into walkie - talkie. -RRB- Let's pull back to the perimeter before we lose the light. We've got movement underground ; they're hearing it round the walls. ASHBERRY -LRB- approaching them from the side. -RRB- Captain! KANE Jesus, not there, STOP. -LRB- Ashberry freezes. -RRB- We got Claymores planted in the rosebushes, Reverend, cut your nuts off faster'n a hedge clipper. ASHBERRY We've made a mistake, there are Angels here, a heavenly host. EIGERMAN You're drunk, asshole. Ashberry dumps the bourbon out of his canteen. ASHBERRY No. Listen to me, it's wrong, it's sacrilege, this is holy ground. EIGERMAN Get the hell up that hill, you pinhead. ASHBERRY You brought me here because I'm a man of God. EIGERMAN That's right ; hang round here a couple more minutes, Padre, and you'll be sitting at his left hand. Now get your sorry ass out of the fuckin' way. Eigerman backhands him. Ashberry falls. Eigerman, Kane, Pettine and the other cops begin to pull back. Ashberry looks up, as he hears grindings and growls in the earth. Boone is lifting off the top of a nearby tomb. Ashberry is about to shoot when Narcisse grabs him around the throat, puts a finger to his lips and signals him to be quiet. Narcisse follows Boone into the tomb. The tomb - lid scrapes as it's pushed back into place from beneath. Ashberry starts to pray.", "INT. BELOW MIDIAN Boone and Narcisse move through the panicking underground, creatures fleeing in every direction. Boone sees Lylesburg, trying to keep the panic down, moves towards him. LYLESBURG Stay down! Stay where you are, they're waiting for us above. BOONE -LRB- intercepting him. -RRB- No! if you stay here you'll be slaughtered. LYLESBURG This is our home. BOONE Not anymore. LYLESBURG We belong here. BOONE Listen to me, old man, the rules change ; if you want to live it wo n't be here and it wo n't be by your laws. Other creatures have stopped, watching the confrontation. Boone speaks to them as well. BOONE -LRB- cont. -RRB- If you ` want to survive we've got to fight back, we ca n't hide anymore! -LRB- to Lylesburg. -RRB- What's it gon na be? Lylesburg slumps, acquiescing, unable to refuse Boone's assertions. BOONE -LRB- cont. ; to Narcisse. -RRB- Get the children above ground, find a hiding place. -LRB- to the others. -RRB- Get ready to fight! -LRB- to Lylesburg. -RRB- What about Baphomet? Can he be moved? LYLESBURG Yes. It could be done. BOONE It must be done. Brothers and sisters, it's time to fight!", "INT. CHAMBERS Leroy and Lude listen to Boone on the bridge. LEROY You hear what he said? LUDE What chance have we got? They're armed. LEROY -LRB- opens jacket. -RRB- So am I. Two one - eyed snakes, nesting in Leroy's belly, slide up from his innards and wrap around his neck. LEROY They call us monsters, remember? They're afraid of us. Let's give'em reason. LUDE It's a long time since I spilled blood. LEROY You never lose the knack.", "EXT. HILL ABOVE THE NECROPOLIS DUSK From this high vantage point, Decker watches the preparations below through binoculars, with the glee of a pyromaniac at a fire - storm. The sun is setting. He stares up at it, squinting into its brightness. THE MASK -LRB- V.O. -RRB- I'm waiting. Philip? Decker looks towards the patrol car parked nearby. The front door is open. On the passenger seat sits his briefcase. Decker quickly crosses to the car. DECKER Be quiet. THE MASK -LRB- V.O. -RRB- Let me out, Philip. There's going to be bloodshed. I want to see. Decker opens the briefcase. The mask and his knives are laid out inside. THE MASK Ah, that's better. DECKER We ca n't let anyone see us. THE MASK I want to be free! JOYCE -LRB- V.O. -RRB- Decker? Decker swings round, slamming the case shut, as Joyce approaches. DECKER Lieutenant. -LRB- covering flawlessly. -RRB- You gave me such a start. JOYCE Eigerman's invited you to watch from the command post. DECKER Oh, I do n't think I'm up to it, really. JOYCE I've got a bad feeling about this. DECKER Believe me, Lieutenant, whoever or whatever's living down there deserves what's coming. JOYCE Monsters, you mean? DECKER Unnatural, misbegotten creatures. JOYCE I do n't know. The only monsters I've ever seen had a human face. As Joyce looks down at the Necropolis, Decker sneaks an anxious side - long glance at his briefcase.", "INT. NECROPOLIS GATES DUSK The final explosives - layers exit, their backs covered by flamethrower and machine - gun - carrying mob members. A distraught Ashberry is the last out. Midian is now completely deserted. Dandelion seeds drift down the walkways, caught in shafts of sunlight.", "EXT. NECROPOLIS GATES/COMMAND POST DUSK Eigerman, Pettine and Kane, looking at their watches. KANE -LRB- a pause -- then. -RRB- T - minus fifteen seconds. ten, nine, eight, seven, six, five, four, three, two, one. EIGERMAN Go. Kane depresses the detonator. There are two large explosions, followed by several smaller ones. Part of the Necropolis wall is blasted out. Several members of the posse retreat. Eigerman pulls his pistol. EIGERMAN -LRB- cont. -RRB- You there, stand your ground! -LRB- fires a warning shot. -RRB- Stand your ground, damn you! The defectors stop. Several more chain explosions in Necropolis.", "INT. BELOW MIDIAN Narcisse is leading a group of child monsters, as the explosions bring earth plunging down from the ceiling. Babies cry. Monsters scream. We see several creatures howling in bestial terror. Babette is separated from Narcisse's group by falling earth, nearly trampled in the chaos. She is picked up by the dog - faced man. BABETTE I want my mother. MAN We'll find her.", "INT. PELOQUIN'S CHAMBER NIGHT Peloquin squats on the step overlooking the fire - pit, listening to the sound of invasion from above. There is a mixture of fear and rage on his face. In the darkness opposite, Kinski. KINSKI We began this. PELOQUIN I just wanted meat. I did n't know he was going to cause this. KINSKI There were prophesies. The seventh saviour. PELOQUIN I did n't believe the prophesies and I did n't obey the Law. You want to see me bleed for it? All right, I'll bleed. He exits the chamber.", "EXT. NECROPOLIS GATES/COMMAND POST NIGHT Smoke billows over the walls. Eigerman moves closer to the gates, listening to the wild cries from inside. He grabs Ashberry by the collar. EIGERMAN That sound like a heavenly choir to you, Padre? ASHBERRY I have to see! Ashberry shakes himself free and heads through the gates, into the Necropolis. Eigerman turns to the others, lights a cigar. EIGERMAN Pettine! PETTINE Chief? EIGERMAN We're moving in. PETTINE -LRB- locks and loads his machine - gun. -RRB- Yes, sir! -LRB- turns - addresses the posse. -RRB- We're movin' in! Car engines are revved, headlights turned on, piercing the smoke.", "EXT. NECROPOLIS NIGHT Ashberry wanders through the Necropolis as the Breed begin to emerge on every side. The air is full of sad, melodious sounds, like whale - song. Ghostly forms appear from the smoke and drift towards him. ASHBERRY -LRB- in awe. -RRB- Dear Lord. Some of the creatures brush him as they drift by : their strange beauty entrances him. ASHBERRY Dear Lord. Forgive me. There are images here which have the flavour of Christian iconography. Mother and child. A man bleeding from his brow. A creature with a halo of smoke. He wanders on.", "EXT. OUTSIDE NECROPOLIS NIGHT Decker watches impassively. Joyce moves towards the gate. As he reaches it an extraordinary creature appears. JOYCE My God. It means no harm. Joyce steps aside and the creature moves off into the night. We cut back to Decker. THE MASK -LRB- V.O. -RRB- Do n't deny me Philip. DECKER Soon. I promise. Decker hears shouts to his flank, steps back, out of sight and sees Lori and Rachel emerge from a hiding place, Lori trying to restrain Rachel from going in. RACHEL Babette! LORI Rachel, no! Rachel breaks away and runs towards the Necropolis. Lori is alone. THE MASK -LRB- V.O. -RRB- Now, perfect, finish her. She's the only one who knows about us. DECKER What about Boone? THE MASK -LRB- V.O. -RRB- Boone's a monster. They all die tonight. DECKER -LRB- smiles. -RRB- All right. THE MASK -LRB- V.O. -RRB- Quickly, Philip, we'll lose her. The briefcase is opened. The light of distant fires flicker on the mask.", "INT. NECROPOLIS Boone and Narcisse lead the column of Breed, children and babies up from underground into the Necropolis itself. BOONE Hurry up. NARCISSE Is this wise? Coming above ground? BOONE If we stay below they'll slaughter us. NARCISSE This is their territory. BOONE No. The night's ours. Now get the rest of the children up here, I'm going to find a clear way through! He heads away, leaving a frightened group of Breed and children.", "EXT. GATES OF NECROPOLIS NIGHT Peloquin appears overground, scanning the destruction before racing off.", "EXT. GATES OF NECROPOLIS NIGHT Eigerman addresses the assembled posse. EIGERMAN They're coming out, and they're armed, so watch yourselves. It's a fucking freak - show in there! We're not taking prisoners! It's us or them! Let's clean up! The engines rev, and the posse charges the gates. The lead vehicle, driven by a manic, grinning Kane, rams the gates, and crashes through. KANE Us or them! Us or them! On the other side of the gates, Peloquin appears in Kane's headlights. KANE Shit! Peloquin jumps up into the air as the car careers towards him. We see him somersault in the air. Kane hears him land on the car roof. We see Peloquin on the roof, bend over the windshield. His face appears in front of a panicking Kane, the mouth suddenly opening grotesquely wide. Kane slams the breaks on. Peloquin is thrown off. KANE Eat dirt, fucker! Peloquin is thrown to the ground, his face caught in the blaze of headlights as Kane's vehicle revs and drives at him. KANE -LRB- ecstatic. -RRB- Yeah! His momentum carries the car towards the crater blown in the ground. Kane's pleasure turns to horror. KANE Oh shit! Shit! He turns to swerve, but too late, the car heads over the edge. Wounded, Peloquin crawls off.", "INT. MIDIAN CORE Dirt falls from the roof. Headlights appear.", "INT. KANE'S CAR NIGHT The car slides into the earth. The guns stacked behind him fall forward. KANE Oh my Jesus!", "INT. MIDIAN CORE Kane's car drops through the roof of Midian, falling through the core, breaking bridges as it falls. Breed are thrown off walkways to their deaths. The car strikes the top of Baphomet's chamber and a plume of fire, followed by several small explosions, marks Kane's death.", "INT. BAPHOMET'S CHAMBER The explosions rock the chamber. Dirt falls. Baphomet looks towards the roof, with great sadness on his face.", "INT. INITIATION CHAMBER Boone enters the initiation chamber. Lylesburg is standing beside the bowl of Baphomet's blood, which is bubbling furiously. BOONE What the hell are you doing down here? We need help! LYLESBURG This was intended. BOONE Fuck that! We're not going to lie down and die. LYLESBURG It's Baphomet's will. He's going to destroy the Naturals, and us. Everything, in one last fire. BOONE How do you know? LYLESBURG Look for yourself. He points to the bowl. BOONE It's going to blow? LYLESBURG Yes. BOONE He'll destroy his own people? LYLESBURG Better it ends quickly. We ca n't escape them. We remind them of the darkness in themselves. They hate that. BOONE So did I. I learned better. We can make it out. But I need fighters. LYLESBURG We're not warriors. BOONE What about the Berserkers? LYLESBURG They're uncontrollable. BOONE All the better. Let them out. Do n't just stand there! We're the tribes of the moon, remember? Doubt and fear mingle in Lylesburg's look, but he finally nods his head. LYLESBURG I'll release the Berserkers. BOONE Be quick. We have n't got forever. Yet. Lylesburg smiles. Boone leaves. The Drummer is at the door. BOONE You come with me. The rest of you get out of here. He exits with the Drummer.", "EXT. GATES NIGHT The posse enter in large numbers, firing to left and right. We see Breed shot down.", "EXT. NECROPOLIS NIGHT Boone races to the entrance, to see Eigerman's posse moving towards the Necropolis. One of the posse has a flame thrower. He burns up the foliage. From Boone's P.O.V. we view the enemy : grinning sweating monsters. There's no way out in this direction.", "EXT. GATES NIGHT Lori looks towards the conflagration. LORI Oh Jesus, Boone. Behind her, we see a familiar, masked figure approaching : Decker. She does n't hear him over the shouts and screams.", "EXT. NECROPOLIS NIGHT One of the posse fires a rocket into a giant Breed who explodes. Boone reacts with horror at the destruction. When he turns back he sees Breed watching too, defenceless. BOONE Arm yourselves! Defend yourselves! You're not cattle, for Christ's sake. They do n't have any right to kill you! He races back the way he came, and pulls coffins from the walls, tearing their lids off with supernatural strength. He breaks the wood into clubs. The Breed watch him. BOONE Weapons! You need weapons or it's over! One or two understand, and do as he's doing. BOONE All of you! They do as he orders. BOONE Stop them getting in! They'll kill the children!", "EXT. GATES NIGHT Lori turns to see Decker appearing from the darkness. He attacks her, cutting her arm. She backs away before he can strike a second time, retreating towards the gates. Then she turns and walks through the reeds ; Decker on her heels.", "EXT. NECROPOLIS NIGHT The posse led by Pettine invade the entrances to the Necropolis, engaging in hand - to - hand combat with the Breed.", "EXT. NECROPOLIS NIGHT Boone races through the Necropolis, finding that other posse members are breaking in from other sides. BOONE They're everywhere!", "EXT. NECROPOLIS NIGHT The Nightbreed children hear the sound of slaughter approaching. One of the Breed with enormous, dark eyes, speaks. LEOPARDO We ca n't stay here. NARCISSE He told us to. LEOPARDO He ca n't help us. He's too late.", "EXT. NECROPOLIS NIGHT We see the posse shooting Breed as they move towards the children. Several are entering doorways that lead underground.", "INT. MIDIAN CORE Posse enter the core, firing at anything that moves.", "INT. BERSERKERS' CORRIDOR Lylesburg, his leg broken, is hobbling towards the Berserkers' chamber, as the sound of gunfire gets nearer.", "EXT. NECROPOLIS NIGHT Narcisse still keeps an increasingly panicked group of Breed and children from scattering. Pettine and two bloodied, grinning posse appear through the smoke. PETTINE Look what we got here! A freak - show nursery school. The group back away, but two more posse members appear, one with a flame - thrower, another with grenades. PETTINE Say goodnight. BOONE -LRB- from above. -RRB- Goodnight. Pettine looks up. Framed against the stars, Boone. He drops on Pettine breaking the man's neck. Then he and Narcisse lead the attack against the posse, dispatching them all. NARCISSE What way's safe? BOONE The west wall! But be quick! I'm going after Eigerman.", "EXT. NECROPOLIS Leroy and Lude hide around the corner of a mausoleum. Two posse members are beating a Breed up with their rifle butts. Leroy heads out to help. LUDE What's the plan? LEROY The usual. You take the big guy. -LRB- he yells to the Naturals. -RRB- Hey! They turn. Leroy raises his hands in surrender. LEROY I would n't do that if I were you. 1ST POSSE Give me a good reason why not. LEROY I'll give you two! The snakes emerge from his body. 1ST POSSE Shit! He raises his gun, but Lude flips over his head, landing behind him and in front of the 2nd posse member. Lude's eyes blaze. LUDE Pretty gun. The 2nd posse member looks down at his hands. The gun is covered in snakes. He drops the gun. When he looks up Lude has gone. He turns again, backing off towards a monument. Lude is there, a living devil hidden amongst the carved variety. He takes hold of the man, turning him round and driving his horns into the man's neck. He staggers back, blood pouring from the opened wounds. Leroy, meanwhile, draws the 1st into an embrace. The snakes strike. Poisoned, the man dies. LEROY Look at this mess. LUDE Just like the old days.", "EXT. NECROPOLIS Kane leads two cops through the mayhem, firing to right and left. He shoots a Breed against one of the mausoleums. Blood is spattered on his face. KANE Look at these bastards. Fucking freaks. He wipes the blood from his face. Then he takes off his spectacles, and wipes the blood off them. As he does so 1st cop yelps. 1ST COP Yow! KANE What? 1st cop pulls a quill from the back of his neck. 1ST COP Where the fuck did that come from? Kane puts his spectacles back on, and sees Shuna Sassi in one of the mausoleums. She moves sexily in the shadows. Kane grins and starts to approach. 2ND COP Wait. KANE It's just a girl. 1st cop is still rubbing the back of his neck. He is looking sick now. 1ST COP I do n't. feel. so. good. Kane pushes the mausoleum grille open, as the 1st cop kneels over, face down. The 2nd cop kneels to help him. Meanwhile, Kane has stepped into the mausoleum. Shuna is in the corner, her spines covered with the swaths of red cloth. KANE It's OK, Baby. He lowers his gun. Outside the 2nd cop turns the 1st over. He is frothing at the mouth, his face blotchy and sweating. 2ND COP Oh shit! Kane! Inside again, Shuna drops her cloth and leaps at Kane. 2nd cop now approaches the mausoleum. 2ND COP Kane? As he reaches the threshold, Kane staggers out, his body and face pierced in dozens of places with Shuna's spines. He reaches for 2nd cop. 2ND COP Keep away from me! In panic, he fires at Kane, who falls to the ground. As the smoke clears a hand appears and strokes his cheek. He turns. It's Shuna. He screams, and falls to the ground at her feet, his arm covered in spines. He twitches, and dies. She drops her swath of red cloth over the faces of the three dead men.", "EXT. NECROPOLIS GATES NIGHT Cut to Eigerman's leering, grinning face as he fires at Breed. Ashberry emerges from the shadows and grabs him. ASHBERRY :. Please, you've got to stop. -LRB- takes out a pistol - points it -RRB- There's children down there, you're killing children! EIGERMAN Go ahead, faggot. -LRB- pauses contemptuously. -RRB- You have n't got the balls to pull the trigger. Eigerman snatches the gun away and pistol - whips him to the ground. Eigerman draws a bead on Ashberry's forehead. EIGERMAN -LRB- cont. -RRB- Lem me show you how it's done. Nearby, Joyce sees them, draws his weapon, ready to fire at Eigerman when a shadow passes over him. He ducks, his expression changing from horror to wonder. ASHBERRY -LRB- eyes closed - hands clasped fervently. -RRB- Father, I am heartily sorry for having offended thee. EIGERMAN Sorry, Padre. Nobody's listening. -LRB- prepares to shoot. -RRB- BOONE -LRB- V.O. -RRB- I hear you. Eigerman turns, looks and fires as Boone leaps at him. He roars, effortlessly picks Eigerman up and body - slams him against the wall of Midian. BOONE -LRB- cont. ; to Ashberry. -RRB- Get up! ASHBERRY Do n't kill me! BOONE Run, go on! We do n't like priests here. Ashberry pulls at his collar, tears it off, clings to Boone. ASHBERRY No, no, take me, I have to see. Boone gets a sense of his commitment. He heads off. Ashberry follows. And, at a distance, so does Joyce.", "EXT. NECROPOLIS NIGHT Boone races through the walkways, Ashberry following. There is pitched hand - to - hand battle on every side. Nightbreed are prevailing in some ; in others the mob repeats scenes from the history we witnessed earlier : Breed being beaten or burned to death, impaled on stakes. Boone assists some along the way, pulling off their assailants.", "EXT. NECROPOLIS GATES NIGHT Lori enters the Necropolis, running through the smoke. Decker follows. LORI Boone! Boone!", "INT. BERSERKERS' CORRIDOR Lylesburg has reached the door of the Berserkers' chamber. He puts the key in the lock. A shout stops him turning it. He looks towards a man with a laser - sight rifle. MAN Yo! The light from the rifle plays on Lylesburg's robes. MAN Watch the pretty light. It moves up towards Lylesburg's face, until it's centred on his forehead. The man fires, killing his victim. Lylesburg falls, hanging from the door by the key chain around his neck. His many eyes have opened. The man grins. Then hears a noise behind him. He turns to see the Ferreol Vees, creatures like Manta Rays that glide through the air, appearing around the corner. They swoop towards him, separating. The middle one opens its mouth as it strikes his face. He is eclipsed. When the Vees pass on down the corridor, the man's face is a bloody wreck. He falls to the floor, just out of reach of the Berserkers, who roar their frustration.", "INT. MIDIAN CORE Boone and Ashberry are on one of the walkways, which are swinging violently. Boone hears the Berserkers' roar, and heads towards the door that leads into their corridor, leaving Ashberry on the bridge, tears pouring down his face. Then he follows Boone. As he reaches the ledge he looks back to see a fabulous beast, the Mezzick - Muul, and its beautiful rider, Diadaria, appear. He watches, awestruck.", "EXT. NECROPOLIS NIGHT Lori races through the smoke and horror of the Necropolis, as Decker follows.", "INT. BERSERKERS' CHAMBER Boone reaches the door. Lylesburg is dead. Boone pulls the key from off Lylesburg's neck, and pulls the corpse aside. Then he turns the key in the lock. The door opens. A rush of filthy wind emerges from the chamber beyond. Then the Berserkers appear : lethal brutes, all teeth, armour and muscle. One of them, Ghost, takes hold of Boone, and there's a beat when it seems certain to dispatch him. Then a burst of light from Baphomet's chamber spills over them, and there's a roar from their unseen God. They let Boone go, and they're away. Boone looks towards the chamber, then heads back towards the surface.", "EXT. NECROPOLIS NIGHT Tommy leads a line of five posse members who have cornered a number of wounded Breed against one of the walls. One of the creatures attempts to scramble away. Tommy guns him down. He turns to the other gunmen. TOMMY Watch this! The two posse members prepare to kill the Breed. The ground around them begins to shudder, and a fist bursts out of the ground and grabs the leg of a posse member and drags him down. Another fist then bursts out of the ground. Then in silhouette the Berserkers climb out of the earth beside the posse. Two of the posse turn, and fire at the Berserkers, who advance through the hail of the bullets, and quickly dispatch the two gunmen. Tommy has begun to fire at the feet of the cornered Breed, obliging them to dance. TOMMY -LRB- laughs. -RRB- Dance, fuckers! The display gets appreciative hoots and laughter from the three surviving posse members, who - like Tommy - are as yet unaware that the Berserkers are advancing on them. Tommy continues to fire at the ground around the Breed, as one by one his three companions are dispatched by the Berserkers. We close in on Tommy, whose face is suddenly spattered with blood. He stops firing. He looks round to find himself surrounded by Berserkers. The shadows fall over him. Their hands take hold of him. We see the shadow of what they do to him on the walls : his body is torn apart. We cut to the Berserkers. Ghost has Tommy's gun, with the hand still attached. He tosses it aside, roaring like King Kong. The wounded Breed hurry away as the Berserkers head off in search of new mischief.", "EXT. NECROPOLIS NEAR THE GATES NIGHT With the tide turning inside the Necropolis, a disorganized retreat is underway. Eigerman is at the gate watching the remains of his ` army' staggering away. Joyce is watching the scene. EIGERMAN Stand your ground! Stand your ground! They've got to come this way. We can mow'em down. He climbs up on a vehicle which is parked at the gates. In the driving seat is Gibbs. Beside him, a woman, her face smoke - stained, her expression near catatonic. EIGERMAN Gibbs? GIBBS Sir? EIGERMAN Lights! Gibbs switches the lights on, to pierce the smoke. Bad move. The illumination shows the Berserkers appearing. They approach the vehicle. EIGERMAN Shit! Eigerman jumps from the vehicle, as the retreating posse fire at the Berserkers. It's a useless response. Bloodied but unbowed, the Berserkers run at the vehicles. The woman throws herself out, but Gibbs is n't quick enough. One of the Berserkers pushes the vehicle up the wall of the Necropolis, and Blatz, a small, vicious creature, stamps on the roof. Inside, Gibbs cowers as the roof is beaten in. He is crushed. Joyce, who has been watching this entire scene, moves away from the gate towards the Necropolis. The fires are dying down somewhat, and an eerie half - light bathes the scene he moves through. A few surviving posse hurry away, firing at every movement in the shadows. Back at the gate we see one of the escaping Berserkers flip another car over, while his brothers dispatch posse members. The survivors simply drop their weapons and flee.", "INT. MAUSOLEUM NIGHT The dog - faced man lies dead at the door and beside him Babette, her face subtly bestial. Joyce hears Babette weeping ; her cries hit him hard. He goes to her, gathers her up gently in his arms. Babette clings to him ; he sees her arms are partially transformed into claws, but he keeps holding her. Boone emerges from the depths, into the wrecked mausoleum. BABETTE Boone. -LRB- he goes to them. -RRB- Lori. She's hurt. BOONE Where? Babette points outside.", "EXT. NECROPOLIS NIGHT Lori runs, Decker follows, his steps steady, relentless and gaining. Lori takes another stride and the ground gives way beneath her. She slides down into the earth.", "EXT. NECROPOLIS NIGHT Boone is tracking them, Joyce following, carrying Babette, who has a vision. BABETTE Falling!", "EXT. BELOW MIDIAN Chaos, and collapse. Earth is falling all around. Lori picks herself up and finds her way back up is blocked by debris. She has no choice but to cross the swaying walkways, while the air thickens with dust and smoke. There are only one or two Breed left alive down here, desperately collecting their belongings. They exit the chamber leaving the smoking bowls. We track towards the bowls, as the contents brighten and bubble.", "INT. BELOW MIDIAN Lori descends a flight of stairs, to find Peloquin badly wounded at the bottom. PELOQUIN It's all over. I did n't believe the prophesies and now it's all over. LORI What prophesies? Peloquin takes her arm. PELOQUIN You want to see?", "INT. ENTRANCE TO MURAL CHAMBER NIGHT Peloquin pushes Lori ahead of him. PELOQUIN See? We track towards the mural. Lori can barely believe her eyes. Here, laid out on the walls, is a whole history ; and featured amongst its more recent additions, the face of Boone. PELOQUIN Yes, it's him. Boone squatting in front of his fire of love letters. Boone dead in the reeds. PELOQUIN All these years waiting for a saviour. But he has n't saved us. He's destroyed us. I made him, and he's destroyed us. LORI Made him? PELOQUIN The bite was mine. The bite that mocks death. LORI That does n't make him yours. I belong here on this wall, just as much as you do. Why are n't I here? PELOQUIN You're still a Natural. Go back while you've still got a life. Join your tribe. LORI That? My tribe? Not any longer. PELOQUIN Then die with us. It's over. Peloquin exits. Lori looks back at the images on the walls once more. Then she exits.", "EXT. NECROPOLIS NIGHT Boone, Joyce and Babette approach the hole where Lori fell. BABETTE Let me down. I ca n't go any further. BOONE Why not? BABETTE -LRB- looking down into the hole. -RRB- Baphomet. BOONE -LRB- to Joyce. -RRB- Take her. Run. Joyce nods and moves off with her into the smoke. As she disappears, Decker steps forward from the smoke. DECKER Quite a dance, huh? Death everywhere and you and me in the middle. Catch! He throws the head of a Breed at Boone. DECKER Even the dead can die! Then Decker strikes out at him, slashing at Boone's face. Boone falls backwards. At the last moment he catches hold of Decker, pulling him down into the hole and together they tumble into the earth.", "INT. MIDIAN Boone and Decker land on one of the rope bridges. Boone heads across it, pursued by Decker, who slashes at his neck, cutting him. DECKER Almost! Boone falls back. Decker closes on him, the knives at his neck. The force of his stabs, which miss Boone's neck, break the boards of the bridge. Boone braces his feet beneath Decker and tosses him over. Decker gets up and approaches him again, slashing the ropes of the bridge with his blades as he comes. The fighters connect and struggle, their violent motion carrying them over the edge of the bridge, dropping them down another level. Decker lands very heavily, and lies still. Boone gets up. His exit along the bridge in one direction is blocked. He has to step past Decker who does n't move. Only when Boone has stepped beyond him does Decker get up, pursuing Boone across the bridge, and flinging one of the knives at his victim's back. The blade cuts straight through Boone, sticking out from his chest a good six inches. He turns, his fury transforming him into a more extreme creature. Decker comes at Boone with a second blade, slashing at Boone's neck. The battle carries them off the bridge onto the stairs. Decker takes hold of Boone's hair, preparing to deliver the coup de grace. Boone reaches for a weapon, finds a skull, and smashes it into the mask. Decker lets go. Boone tumbles off the stairs, falling face down on a card table. Decker follows down the stairs. Boone pulls the table off his chest, leaving the Ace of Hearts on the blade in his chest. Decker follows through, driving Boone back into one of the Breed's rooms, where the fight continues. Decker takes a whip from the wall and uses it to disarm Boone, who has snatched up a bone to defend himself with. Boone snatches up a second bone and retaliates, delivering blow after blow against Decker, eventually knocking the knife from his hand and driving him out on to the ledge once more. Decker teeters on the edge, now defenceless. Boone approaches. BOONE Want to dance? He snatches the mask off Decker's face and draws him close, impaling Decker on his own blade. Decker screams. Then Boone pushes him off the blade, and over the edge of the ledge. Decker falls. Boone stands on the ledge, and spits down at the corpse. As he does so he hears the same roar from Baphomet that called the Berserkers from harming him. Out of it, comes Baphomet's face. BAPHOMET -LRB- V.O. -RRB- Boone!", "INT. LYLESBURG'S CHAMBER The chamber is empty of life. There are two or three corpses on the floor. We approach the central dais, on which is perched the statue of Baphomet, surrounded by six white heads. Momentarily, lines of light break from the statue's head and strike the white heads, which in turn begin to glow.", "INT. VARIOUS CHAMBERS In the chambers we've seen before we see copies of the six statues, in front of which are bowls of Baphomet's fluid. They begin to glow, the brightness building. Sparks rise from the fluid.", "INT. BERSERKERS' CORRIDOR Lori sits, exhausted, in the corridor. She looks up to see Boone, with the knife still transfixing him. LORI My God. BOONE Decker's dead. Take the knife out. Lori pulls the knife from him, and throws it down. BAPHOMET -LRB- V.O. -RRB- Boone! LORI Do n't go. BOONE I'm. responsible. I have to. Lori and Boone head down the corridor, passing Ashberry, who is standing in the shadows. Lori and Boone head down the stairs towards the chamber.", "INT. BAPHOMET'S CHAMBER Blinding light. As Boone descends into the chamber, he sees eight Nightbreed, surviving members of a Senior Council, Rachel among them, standing around Baphomet. They are wrapping severed limbs of Baphomet, preparing to include him in the exodus. His head and shoulders remain suspended in the light. Baphomet's lips move, making a terrible, eloquent sound. Rachel translates, the deep voice we hear coming from her lips. RACHEL/BAPHOMET Come closer. Boone obeys. Baphomet's remaining arm reaches down and holds Boone, as Baphomet's face stares down at him. RACHEL/BAPHOMET You have destroyed our refuge. BOONE I never meant. Baphomet silences him. Boone trembles but maintains eye contact. RACHEL/BAPHOMET This was foretold. No refuge is forever. But you are charged. BOONE Yes. RACHEL/BAPHOMET You must rebuild what you've destroyed. BOONE Where? RACHEL/BAPHOMET That you must find yourself. In the world above. BOONE I do n't. I do n't know how. RACHEL/BAPHOMET You shall not be alone. You will find me there and heal me. -LRB- holds him close. -RRB- You are not Boone. And now the words emerge from Baphomet himself, shaking the chamber. BAPHOMET you are Cabal! Boone/Cabal is released. Baphomet is consumed in light. The Council move towards him to finish their task. LORI -LRB- O.S. -RRB- Boone? Boone/Cabal turns ; Lori stands at the bottom of the slope, offering a hand. He takes it, they start up the slope. Cowering in a niche inside the chamber, out of sight, watching in wonder is Ashberry. Transfixed by Baphomet, he crosses himself. Boone/Cabal glances back. The Council receive pieces of Baphomet from the light wrapping his smoking fragments in shrouds. The light builds to its brightest level. Pieces of ceiling begin to fall.", "INT. VARIOUS CHAMBERS The bowls start to explode with sparks of white light.", "INT. BELOW MIDIAN Boone/Cabal and Lori race up towards the surface, as Midian continues to collapse around them.", "INT. BAPHOMET'S CHAMBER Ashberry descends the stairs into the blaze of light. Tears pour down his cheeks. He watches as the Council prepare to take down Baphomet's head. Near to him is one of the bowls of Baphomet's light. Ashberry approaches it, hungry for a taste of this glory. He reaches to touch the bowl. As he does so Baphomet's eyes fix on him. The bowl flips in the air. The fluid it holds rains down on Ashberry like acid. He falls back, his body smoking.", "EXT. NECROPOLIS NIGHT Boone/Cabal and Lori reach the surface and race through the ruined Necropolis, flames all around them. And then, behind them.", "INT. BAPHOMET'S CHAMBER The tentacles attached to Baphomet's head are detached. The blaze of light instantly begins to diminish.", "INT. MIDIAN CORE The lights start to go out in the core, and earth begins to pour from the tunnels. We see it flood the various corridors, with a shuddering roar.", "INT. BAPHOMET'S CHAMBER We glimpse Baphomet's head being covered by the Council, as the roars increase.", "EXT. OUTSIDE THE GATES NIGHT Boone/Cabal and Lori find Joyce, holding Babette, protecting her, near the gates. Joyce steps back from the form of Rachel, who pulls her veils around her and holds out her arms. RACHEL Give me my child. Joyce looks at Lori, Boone/Cabal, at Babette and Rachel. He tenderly hands the child over. Rachel holds Babette and they both disappear into the darkness. JOYCE -LRB- to Boone/Cabal. -RRB- I never understood. nobody ever told me. He steps away from them and the night engulfs him.", "INT. MIDIAN CORE The earth has almost obliterated the core entirely.", "EXT. OUTSIDE THE GATES NIGHT The roar ceases. Silence.", "EXT. NECROPOLIS Lori and Boone stand in the reeds as the last, bright bloom of the fires dies away on their faces. Figures move away through the smoke, creatures we recognize. The drummer beats out a tattoo as they depart. Narcisse appears from the darkness. As he does so, a final explosion roars up from the underground. In the smoke pillar above the site, Baphomet's image momentarily appears before the wind disperses it. NARCISSE Never piss off a God. Lori looks up into the sky. Lori's P.O.V. of the sky, with other Breed, spirits of smoke and light, moving away into the night. LORI Where are they going? NARCISSE Any hiding place they can find. It'll be dawn soon. BOONE When I need you where will I find you? NARCISSE You'll find me. And you will need me. He reaches to shake Boone's hand. NARCISSE Never touched a legend before. He laughs his manic laugh. NARCISSE -LRB- cont. ; to Lori. -RRB- Good night, pretty. He fades into the night, the laughter going with him.", "EXT. NEAR MIDIAN NIGHT In the distance, the burning ruins of Midian. The wind sighs in the moonlit reeds. Cabal and Lori reach the top of the hill, turn and look down, standing apart. CABAL I'll have to start tonight. LORI I'll go with you, Boone. CABAL I'm not Boone, Lori. Do you understand? I belong to the Breed now. LORI Then make me belong too ; they made you one of them, you can do it to me. CABAL I ca n't. LORI I want to be with you. CABAL I'll come back for you when I'm finished. LORI And when's that gon na be, when I'm ninety and you're still the way you are? I went through hell to find you and you just, just walk away from me? -LRB- pause ; broken - hearted. -RRB- Well go on, then, just go. Go on! What more do you want? Leave me some dignity, for Christ's sake! Pause. She turns away, trying not to show him her pain. Cabal turns to go. Lori turns back, sees him going. She ca n't bear it, looks around, sees Decker's briefcase lying beside the police car. Runs to it, finds a knife. LORI Boone! He turns. She puts the blade to her belly and drives it in. CABAL Lori, NO! She cries out and sinks to the ground in terrible pain. He reaches her and holds her in his arms. LORI I lied, I lied, you're all I want. CABAL Do n't die, God, Lori, do n't die. LORI Well why do n't you do something about it, God damn it. remember what you said. -LRB- fading. -RRB-. quickly. He raises her neck to his mouth. Her eyes flicker closed. He bites. A fatal, bloody kiss. He rises from her. Her eyes are closed. CABAL too late? Oh God, too late. Her eyes open. She's turned. LORI You said you'd never leave me. She grins, presses up to kiss his bloodied mouth. Camera moves up off them to find the moon and we :", "EXT. NECROPOLIS DAY We track through the ruins of the Necropolis. The walls are blackened by fires that are almost extinguished ; corpses -LRB- human and Breed -RRB- lie in barely distinguishable bundles, from which partially cremated limbs jut. Smoke hangs in the air. From the distance we see Eigerman, going amongst the corpses, reclaiming guns, bullets and grenades. As we get closer we realize that he is a broken man, his face dirty, his eyes lunatic. He's been crying, the tracks marking the dirt. Suddenly, he hears a noise, and stands up to see a large figure appearing from the smoke. He goes for his own gun, levelling it at the figure as it approaches. EIGERMAN Keep your distance! The figure keeps coming, emerging from the smoke. It's Ashberry. He has been transformed by the confrontation with Baphomet. His hair has been almost burned away entirely and there is a subtle reconfiguration in the shape of his skull. His clothes are in tatters. There are hints that his once broken body, poisoned by alcohol, has taken on new strength. He looks as insane as Eigerman, but stronger in his lunacy. There's a dangerous fervour in his eyes. ASHBERRY I saw their God. I saw him. EIGERMAN What the hell are you talking about? ASHBERRY I can still smell him. He's out there. Ashberry walks past Eigerman towards the exit from Necropolis. EIGERMAN You mean you can find them? ASHBERRY Oh yes. EIGERMAN We'll go together then. You can lead me to the bastards. Then I'll wipe them all away. ASHBERRY No. They're mine. Their God burned me. I want to burn him back. All of them. Burn them all away. EIGERMAN You ca n't, you do n't have the wits. Ashberry turns on him, his face wild. He takes hold of Eigerman by the neck, his fingers digging into the muscle. Blood runs. Eigerman tries to raise the gun but Ashberry takes hold of the man's hand, and summarily snaps his wrist. The gun is dropped. Ashberry starts to lift Eigerman up off the ground. The policeman's flailings stop suddenly. The head lolls. Ashberry flings the body aside, and starts out of the Necropolis. As he approaches the exit he looks up. Sunlight falls on his face.", "EXT. MOON NIGHT Shining, full. We move down to find a derelict barn, standing alone in a vast field.", "INT. BARN NIGHT We track through the darkness to find Rachel, Babette, Kinski and a number of other refugees and children of Midian, staring out at the night. BABETTE who will come for us? KINSKI His name is Cabal. He unmade Midian. BABETTE How soon? RACHEL On the next wind. If not tonight, then tomorrow. Babette gazes out over the cornfields. BABETTE On the next wind.", "EXT. HILL NIGHT Cabal and Lori, standing on the hill, against a background of stars. BABETTE -LRB- V.O. -RRB- if not tonight. tomorrow.", "INT. BELOW MIDIAN NIGHT Moving through the ruined chambers, illuminated by dying flickers of flame, we find and track along the end of the heroic mosaic/mural. It tells, in a rush of images, the story of the ruin of Midian. Camera comes to a stop on the final image : Cabal and Lori, as we just saw them, on a hill, framed against the star - filled heavens. The sound of the wind. Fade to black." ]

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[ "DOUBLE INDEMNITY LOS ANGELES - A DOWNTOWN INTERSECTION It is night, about two o'clock, very light traffic. At the left and in the immediate foreground a semaphore traffic signal stands at GO. Approaching it at about thirty miles per hour is a Dodge 1938 coupe. It is driven erratically and weaving a little, but not out of control. When the car is about forty feet away, the signal changes to STOP. Car makes no attempt to stop but comes on through. A LIGHT NEWSPAPER TRUCK is crossing the intersection at right angles. It swerves and skids to avoid the Dodge, which goes on as though nothing had happened. The truck stops with a panicky screech of tires. There is a large sign on the truck : `` READ THE LOS ANGELES TIMES''. The truck driver's infuriated face stares after the coupe. THE COUPE continues along the street, still weaving, then slows down and pulls over towards the curb in front of a tall office building. THE COUPE stops. The headlights are turned off. For a second nothing happens, then the car door opens slowly. A man eases himself out onto the sidewalk and stands a moment leaning on the open door to support himself. He's a tall man, about thirty - five years old. From the way he moves there seems to be something wrong with his left shoulder. He straightens up and painfully lowers his left hand into his jacket pocket. He leans into the car. He brings out a light - weight overcoat and drapes it across his shoulders. He shuts the car door and walks toward the building. ENTRANCE OF THE BUILDING Above the closed, double - plate glass doors is lettered : `` PACIFIC BUILDING''. To the left of entrance there is a drugstore, closed, dark except for a faint light in the back. The man comes stiffly up to the doors. -LRB- CAMERA HAS MOVED UP WITH HIM -RRB-. He tries the doors. They are locked. He knocks on the glass. Inside, over his shoulder, the lobby of the building is visible : a side entrance to the drugstore on the left, in the rear a barber shop and cigar and magazine stand closed up for the night, and to the right two elevators. One elevator is open and its dome light falls across the dark lobby. The man knocks again. The night watchman sticks his head out of the elevator and looks toward entrance. He comes out with a newspaper in one hand and a half - eaten sandwich in the other. He finishes the sandwich on the way to the doors, looks out and recognizes the man outside, unlocks the door and pulls it open. NIGHT WATCHMAN Hello there, Mr. Neff. Neff walks in past him without answering.", "INT. LOBBY Neff is walking towards elevator. Night watchman looks after him, relocks door, follows to elevator. Neff enters elevator. ELEVATOR Neff stands leaning against wall. He is pale and haggard with pain, but deadpans as night watchman joins him. NIGHT WATCHMAN Working pretty late are n't you, Mr. Neff? NEFF -LRB- Tight - lipped. -RRB- Late enough. NIGHT WATCHMAN You look kind of all in at that. NEFF I'm fine. Let's ride. Night watchman pulls lever, doors close and elevator rises. NIGHT WATCHMAN How's the insurance business, Mr. Neff? NEFF Okay. NIGHT WATCHMAN They would n't ever sell me any. They say I've got something loose in my heart. I say it's rheumatism. NEFF -LRB- Scarcely listening. -RRB- Uh - huh. Night watchman looks around at him, turns away again and the elevator stops. NIGHT WATCHMAN -LRB- Surly. -RRB- Twelve. The door opens. Across a small dark reception room a pair of frosted glass doors are lettered : PACIFIC ALL - RISK INSURANCE COMPANY - FOUNDED 1906 - MAIN OFFICE. There is a little light beyond the glass doors. Neff straightens up and walks heavily out of the elevator, across reception room to doors. He pushes them open. The night watchman stares after him morosely, works lever, elevator doors start to close. TWELFTH FLOOR INSURANCE OFFICE -LRB- Note for set - designer : Our Insurance Company occupies the entire eleventh and twelfth floors of the building. On the twelfth floor are the executive offices and claims and sales departments. These all open off a balcony which runs all the way around. From the balcony you see the eleventh floor below : one enormous room filled with desks, typewriters, filing cabinets, business machines, etc. -RRB- Neff comes through the double entrance doors from the reception room. The twelfth floor is dark. Some light shines up from the eleventh floor. Neff takes a few steps then holds on to the balcony railing and looks down. THE ELEVENTH FLOOR FROM ABOVE - NEFF'S POINT OF VIEW Two colored women are cleaning the offices. One is dry - mopping the floor, the other is moving chairs back into position, etc.. A colored man is emptying waste baskets into a big square box. He shuffles a little dance step as he moves, and hums a little tune. NEFF Moves away from the railing with a faint smile on his face, and walks past two or three offices -LRB- CAMERA WITH HIM -RRB- towards a glass door with number twenty - seven on it and three names : HENRY B. ANDERSON, WALTER NEFF, LOUIS L. SCHWARTZ. Neff opens the door.", "INT. NEFF'S OFFICE - DARK Three desks, filing cabinets, one typewriter on stand, one dictaphone on fixed stand against wall with rack of records underneath, telephones on all three desks. Water cooler with inverted bottle and paper cup holder beside it. Two windows facing toward front of building. Venetian blinds. No curtains. Waste basket full, ash trays not emptied. The office has not been cleaned. Neff enters, switches on desk lamp. He looks across at dicta phone, goes heavily to it and lifts off the fabric cover. He leans down hard on the dictaphone stand as if feeling faint. He turns away from dictaphone, takes a few uncertain steps and falls heavily into a swivel chair. His head goes far back, his eyes close, cold sweat shows on his face. For a moment he stays like this, exhausted, then his eyes open slowly and look down at his left shoulder. His good hand flips the overcoat back, he unbuttons his jacket, loosens his tie and shirt. This was quite an effort. He rests for a second, breathing hard. With the help of his good hand he edges his left elbow up on the arm - rest of the chair, supports it there and then pulls his jacket wide. A heavy patch of dark blood shows on his shirt. He pushes his chair along the floor towards the water cooler, using his feet and his right hand against the desk, takes out a handkerchief, presses with his hand against the spring faucet of the cooler, soaks the handkerchief in water and tucks it, dripping wet, against the wound inside his shirt. Next, he gets a handful of water and splashes it on his face. The water runs down his chin and drips. He breathes heavily, with closed eyes. He fingers a pack of cigarettes in his shirt pocket, pulls it out, looks at it. There is blood on it. He wheels himself back to the desk and dumps the loose cigarettes out of the packet. Some are blood - stained, a few are clean. He takes one, puts it between his lips, gropes around for a match, lights cigarette. He takes a deep drag and lets smoke out through his nose. He pulls himself toward dictaphone again, still in the swivel chair, reaches it, lifts the horn off the bracket and the dictaphone makes a low buzzing sound. He presses the button switch on the horn. The sound stops, the record revolves on the cylinder. He begins to speak : NEFF Office memorandum, Walter Neff to Barton Keyes, Claims Manager. Los Angeles, July 16th, 1938. Dear Keyes : I suppose you'll call this a confession when you hear it. I do n't like the word confession. I just want to set you right about one thing you could n't see, because it was smack up against your nose. You think you're such a hot potato as a claims manager, such a wolf on a phoney claim. Well, maybe you are, Keyes, but let's take a look at this Dietrichson claim, Accident and Double Indemnity. You were pretty good in there for a while, all right. You said it was n't an accident. Check. You said it was n't suicide. Check. You said it was murder. Check and double check. You thought you had it cold, all wrapped up in tissue paper, with pink ribbons around it. It was perfect, except that it was n't, because you made a mistake, just one tiny little mistake. When it came to picking the killer, you picked the wrong guy, if you know what I mean. Want to know who killed Dietrichson? Hold tight to that cheap cigar of yours, Keyes. I killed Dietrichson. Me, Walter Neff, insurance agent, 35 years old, unmarried, no visible scars -. -LRB- He glances down at his wounded shoulder. -RRB- Until a little while ago, that is. Yes, I killed him. I killed him for money - and a woman - and I did n't get the money and I did n't get the woman. Pretty, is n't it? He interrupts the dictation, lays down the horn on the desk. He takes his lighted cigarette from the ash tray, puffs it two or three times, and kills it. He picks up the horn again. NEFF -LRB- His voice is now quiet and contained. -RRB- It began last May. About the end of May, it was. I had to run out to Glendale to deliver a policy on some dairy trucks. On the way back I remembered this auto renewal on Los Feliz. So I decided to run over there. It was one of those Calif.. Spanish houses everyone was nuts about 10 or 15 years ago. This one must have cost somebody about 30,000 bucks - that is, if he ever finished paying for it. As he goes on speaking, SLOW DISSOLVE TO :", "DIETRICHSON HOME - LOS FELIZ DISTRICT Palm trees line the street, middle - class houses, mostly in Spanish style. Some kids throwing a baseball back and forth across a couple of front lawns. An ice cream wagon dawdles along the block. Neff's coupe meets and passes the ice cream wagon and stops before one of the Spanish houses. Neff gets out. He carries a briefcase, his hat is a little on the back of his head. His movements are easy and full of ginger. He inspects the house, checks the number, goes up on the front porch and rings the bell. NEFF'S VOICE It was mid - afternoon, and it's funny, I can still remember the smell of honeysuckle all along that block. I felt like a million. There was no way in all this world I could have known that murder sometimes can smell like honeysuckle.", "EXT. DIETRICHSON HOME - ENTRANCE DOOR Neff rings the bell again and waits. The door opens. A maid, about forty - five, rather slatternly, opens the door. NEFF Mr. Dietrichson in? MAID Who wants to see him? NEFF The name is Neff. Walter Neff. MAID If you're selling something - NEFF Look, it's Mr. Dietrichson I'd like to talk to, and it's not magazine subscriptions. He pushes past her into the house. HALLWAY - DIETRICHSON HOME Spanish craperoo in style, as is the house throughout. A wrought - iron staircase curves down from the second floor. A fringed Mexican shawl hangs down over the landing. A large tapestry hangs on the wall. Downstairs, the dining room to one side, living room on the other side visible through a wide archway. All of this, architecture, furniture, decorations, etc., is genuine early Leo Carrillo period. Neff has edged his way in past maid who still holds the door open. MAID Listen, Mr. Dietrichson's not in. NEFF How soon do you expect him? MAID He'll be home when he gets here, if that's any help to you. At this point a voice comes from the top of the stairs. VOICE What is it, Nettie? Who is it? Neff looks up. UPPER LANDING OF STAIRCASE - -LRB- FROM BELOW -RRB- Phyllis Dietrichson stands looking down. She is in her early thirties. She holds a large bath - towel around her very appetizing torso, down to about two inches above her knees. She wears no stockings, no nothing. On her feet a pair of high - heeled bedroom slippers with pom - poms. On her left ankle a gold anklet. MAID'S VOICE It's for Mr. Dietrichson. PHYLLIS -LRB- Looking down at Neff. -RRB- I'm Mrs. Dietrichson. What is it? SHOOTING DOWN FROM UPPER LANDING Neff looks up, takes his hat off. NEFF How do you do, Mrs. Dietrichson. I'm Walter Neff, Pacific All - Risk. PHYLLIS PHYLLIS Pacific all - what? NEFF NEFF Pacific All - Risk Insurance Company. It's about some renewals on the automobiles, Mrs. Dietrichson. I've been trying to contact your husband for the past two weeks. He's never at his office. PHYLLIS PHYLLIS Is there anything I can do? NEFF NEFF The insurance ran out on the fifteenth. I'd hate to think of your getting a smashed fender or something while you're not fully covered. PHYLLIS She glances over her towel costume. PHYLLIS -LRB- With a little smile. -RRB- Perhaps I know what you mean, Mr. Neff. I've just been taking a sun bath. NEFF NEFF No pigeons around, I hope. About those policies, Mrs. Dietrichson - I hate to take up your time - PHYLLIS PHYLLIS That's all right. If you can wait till I put something on, I'll be right down. Nettie, show Mr. Neff into the living room. She turns away as gracefully as one can with a towel for a wrapper. ENTRANCE HALL Neff watches Phyllis out of sight. He speaks to the maid while still looking up. NEFF Where would the living room be? MAID In there, but they keep the liquor locked up. NEFF That's okay. I always carry my own keys. He goes through the archway. Maid goes off the other way. LIVING ROOM Neff comes into the room and throws his briefcase on the plush davenport and tosses his hat on top of it. He looks around the room, then moves over to a baby grand piano with a sleazy Spanish shawl dangling down one side and two cabinet photographs standing in a staggered position on top. Neff glances them over : Mr. Dietrichson, age about fifty - one, a big, blocky man with glasses and a Rotarian look about him ; Lola Dietrichson, age nineteen, wearing a filmy party dress and a yearning look in her pretty eyes. Neff walks away from the piano and takes a few steps back and forth across the rug. His eyes fall on a wrinkled corner. He carefully straightens it out with his foot. His back is to the archway as he hears high heels clicking on the staircase. He turns and looks through the arch. NEFF'S VOICE The living room was still stuffy from last night's cigars. The windows were closed and the sunshine coming in through the Venetian blinds showed up the dust in the air. The furniture was kind of corny and old - fashioned, but it had a comfortable look, as if people really sat in it. On the piano, in couple of fancy frames, were Mr. Dietrichson and Lola, his daughter by his first wife They had a bowl of those little red goldfish on the table behind the davenport, but, to tell you the truth, Keyes, I was n't a whole lot interested in goldfish right then, nor in auto renewals, nor in Mr. Dietrichson and his daughter Lola. I was thinking about that dame upstairs, and the way she had looked at me, and I wanted to see her again, close, without that silly staircase between us. STAIRCASE -LRB- FROM NEFF'S POINT OF VIEW -RRB- Phyllis Dietrichson is coming downstairs. First we see her feet, with pom - pom slippers and the gold anklet on her left ankle. CAMERA PULLS BACK SLOWLY as she descends, until we see all of her. She is wearing a pale blue summer dress. PHYLLIS' VOICE I was n't long, was I? NEFF'S VOICE Not at all, Mrs. Dietrichson. CAMERA PULLS BACK WITH HER INTO THE LIVING ROOM. PHYLLIS I hope I've got my face on straight. NEFF It's perfect for my money. PHYLLIS -LRB- Crossing to the mirror over the fireplace. -RRB- Wo n't you sit down, Mr. - Neff is the name, is n't it? NEFF With two f's, like in Philadelphia. If you know the story. PHYLLIS What story? NEFF The Philadelphia story. What are we talking about? PHYLLIS -LRB- She works with her lipstick. -RRB- About the insurance. My husband never tells me anything. NEFF It's on your two cars, the La Salle and the Plymouth. He crosses to the davenport to get the policies from his briefcase. She turns away from the mirror and sits in a big chair with her legs drawn up sideways, the anklet now clearly visible. NEFF We've been handling this insurance for three years for Mr. Dietrichson. -LRB- His eyes have caught the anklet. -RRB- That's a honey of an anklet you're wearing, Mrs. Dietrichson. Phyllis smiles faintly and covers the anklet with her dress. NEFF We'd hate to see the policies lapse. Of course, we give him thirty days. That's all we're allowed to give. PHYLLIS I guess he's been too busy down at Long Beach in the oil fields. NEFF Could I catch him home some evening for a few minutes? PHYLLIS I suppose so. But he's never home much before eight. NEFF That would be fine with me. PHYLLIS You're not connected with the Automobile Club, are you? NEFF No, the All - Risk, Mrs. Dietrichson. Why? PHYLLIS Somebody from the Automobile Club has been trying to get him. Do they have a better rate? NEFF If your husband's a member. PHYLLIS No, he is n't. Phyllis rises and walks up and down, paying less and less attention. NEFF Well, he'd have to join the club and pay a membership fee to start with. The Automobile Club is fine. I never knock the other fellow's merchandise, Mrs. Dietrichson, but I can do just as well for you. I have a very attractive policy here. It would n't take me two minutes to put it in front of your husband. He consults the policies he is holding. NEFF For instance, we're writing a new kind of fifty percent retention feature in the collision coverage. Phyllis stops in her walk. PHYLLIS You're a smart insurance man, are n't you, Mr. Neff? NEFF I've had eleven years of it. PHYLLIS Doing pretty well? NEFF It's a living. PHYLLIS You handle just automobile insurance, or all kinds? She sits down again, in the same position as before. NEFF All kinds. Fire, earthquake, theft, public liability, group insurance, industrial stuff and so on right down the line. PHYLLIS Accident insurance? NEFF Accident insurance? Sure, Mrs. Dietrichson. His eyes fall on the anklet again. NEFF I wish you'd tell me what's engraved on that anklet. PHYLLIS Just my name. NEFF As for instance? PHYLLIS Phyllis. NEFF Phyllis. I think I like that. PHYLLIS But you're not sure? NEFF I'd have to drive it around the block a couple of times. PHYLLIS -LRB- Standing up again. -RRB- Mr. Neff, why do n't you drop by tomorrow evening about eight - thirty. He'll be in then. NEFF Who? PHYLLIS My husband. You were anxious to talk to him were n't you? NEFF Sure, only I'm getting over it a little. If you know what I mean. PHYLLIS There's a speed limit in this state, Mr. Neff. Forty - five miles an hour. NEFF How fast was I going, officer? PHYLLIS I'd say about ninety. NEFF Suppose you get down off your motorcycle and give me a ticket. PHYLLIS Suppose I let you off with a warning this time. NEFF Suppose it does n't take. PHYLLIS Suppose I have to whack you over the knuckles. NEFF Suppose I bust out crying and put my head on your shoulder. PHYLLIS Suppose you try putting it on my husband's shoulder. NEFF That tears it. Neff takes his hat and briefcase. NEFF Eight - thirty tomorrow evening then, Mrs. Dietrichson. PHYLLIS That's what I suggested. They both move toward the archway. HALLWAY - PHYLLIS AND NEFF GOING TOWARDS THE ENTRANCE DOOR NEFF Will you be here, too? PHYLLIS I guess so. I usually am. NEFF Same chair, same perfume, same anklet? PHYLLIS -LRB- Opening the door. -RRB- I wonder if I know what you mean. NEFF I wonder if you wonder. He walks out.", "EXT. DIETRICHSON HOME - (DAY) Shooting past Neff's parked car towards the entrance door, which is just closing. Neff comes towards the car, swinging his briefcase. He opens the car door and looks back with a confident smile. NEFF'S VOICE -LRB- Over scene. -RRB- She liked me. I could feel that. The way you feel when the cards are. ENTRANCE DOOR, DIETRICHSON HOME In the upper panel the peep window opens and Phyllis looks out after Neff. NEFF'S VOICE falling right for you, with a nice little pile of blue and yellow chips in the middle of the table. Only what I did n't know then was that I was n't playing her. She was playing me - with a deck of marked cards - and the stakes were n't any blue and yellow chips. They were dynamite. I went back to the office that afternoon to see if I had any mail. It was the same afternoon you had that Sam Gorlopis on the carpet, that truck driver from Inglewood, remember, Keyes? NEFF He sits in his car, presses the starter button, looking back towards the little window in the entrance door. ENTRANCE DOOR The peep window is quickly closed from inside. STREET Neff makes a U - turn and drives back down the block.", "LONG SHOT - INSURANCE OFFICE - TWELFTH FLOOR - (DAY) CAMERA HIGH Activity on the eleventh floor below. Typewriters working, adding machines, filing clerks, secretaries, and so forth. Neff, wearing his hat and carrying his briefcase, enters from the vestibule. He walks towards his office. He passes a few salesmen, etc.. There is an exchange of greetings. Just as he reaches his office a secretary comes out. She stops. SECRETARY Oh, Mr. Neff, Mr. Keyes wants to see you. He's been yelling for you all afternoon. NEFF Is he sore, or just frothing at the mouth a little? Here, park these for me, sweetheart. He hands her his hat and briefcase and continues right on, CAMERA WITH HIM, to a door lettered : BARTON KEYES - CLAIMS MANAGER Keyes' voice is heard inside, plenty loud. Neff grins as he opens the door and goes in. KEYES : OFFICE - -LRB- DAY -RRB- A minor executive office, not too tidy : large desk across one corner, good carpet, several chairs, filing cabinet against one wall, a dictaphone on the corner of the desk. Keyes is sitting behind the desk with his coat off but his hat on. A cigar is clamped in his mouth, ashes falling like snow down his vest, a gold chair and elk's tooth across it. On the other side of the desk sits Sam Gorlopis. He is a big, dumb bruiser, six feet three inches tall - a dirty work shirt and corduroy pants, rough, untidy hair, broad face, small piggish eyes. He holds a sweat - soaked hat on his knee with a hairy hand. He is chewing gum rapidly. As Neff opens the door, Keyes is giving it to Gorlopis. KEYES Wise up, Gorlopis. You're not kidding anybody with that line of bull. You're in a jam and you know it. GORLOPIS Sez you. All I want is my money. KEYES Sez you. All you're gon na get is the cops. He sees Neff standing inside the door. KEYES Come in, Walter. This is Sam Gorlopis from Inglewood. NEFF Sure, I know Mr. Gorlopis. Wrote a policy on his truck. How are you, Mr. Gorlopis? GORLOPIS I ai n't so good. My truck burned down. He looks cautiously sideways at Keyes. KEYES Yeah, he just planted his big foot on the starter and the whole thing blazed up in his face. GORLOPIS Yes, sir. KEYES And did n't even singe his eyebrows. GORLOPIS No sir. Look, mister. I got twenty - six hundred bucks tied up in that truck. I'm insured with this company and I want my money. KEYES You got a wife, Gorlopis? GORLOPIS Sure I got a wife. KEYES You got kids? GORLOPIS Two kids. KEYES What you got for dinner tonight? GORLOPIS We got meat loaf. KEYES How do you make your meat loaf, Gorlopis? GORLOPIS Veal and pork and bread and garlic. Greek style. KEYES How much garlic? GORLOPIS Lotsa garlic, Mr. Keyes. KEYES Okay, Gorlopis. Now listen here. Let's say you just came up here to tell me how to make meat loaf. That's all, understand? Because if you came up here to claim on that truck, I'd have to turn you over to the law, Gorlopis, and they'd put you in jail. No wife. No kids - GORLOPIS What for? KEYES -LRB- Yelling. -RRB- And no meat loaf, Gorlopis! GORLOPIS I did n't do nothin'. KEYES No? Look, Gorlopis. Every month hundreds of claims come to this desk. Some of them are phonies, and I know which ones. How do I know, Gorlopis? -LRB- He speaks as if to a child. -RRB- Because my little man tells me. GORLOPIS What little man? KEYES The little man in here. He pounds the pit of his stomach. KEYES Every time one of those phonies comes along he ties knots in my stomach. And yours was one of them, Gorlopis. That's how I knew your claim was crooked. So what did I do? I sent a tow car out to your garage this afternoon and they jacked up that burned - out truck of yours. And what did they find, Gorlopis? They found what was left of a pile of shavings. GORLOPIS What shavings? KEYES The ones you soaked with kerosene and dropped a match on. Gorlopis cringes under the impact. GORLOPIS Look, Mr. Keyes, I'm just a poor guy. Maybe I made a mistake. KEYES That's one way of putting it. GORLOPIS I ai n't feelin' so good, Mr. Keyes. KEYES Sign this and you'll feel fine. He puts a blank form in front of him and points. KEYES Right there. It's a waiver on your claim. Gorlopis hesitates, then signs laboriously. KEYES Now you're an honest man again. GORLOPIS But I ai n't got no more truck. KEYES Goodbye, Gorlopis. GORLOPIS -LRB- Still bewildered. -RRB- Goodbye, Mr. Keyes. He stands up and goes slowly to the door and turns there. GORLOPIS Twenty - six hundred bucks. That's a lot of dough where I live. KEYES What's the matter, Gorlopis? Do n't you know how to open the door? Just put your hand on the knob, turn it to the right, pull it toward you - GORLOPIS -LRB- Doing just as Keyes says. -RRB- Like this, Mr. Keyes? KEYES That's the boy. Now the same thing from the outside. GORLOPIS -LRB- Stupefied. -RRB- Thank you, Mr. Keyes. He goes out, closing the door after him. Keyes takes his cigar stub from his mouth and turns it slowly in the flame of a lighted match. He turns to Neff. KEYES What kind of an outfit is this anyway? Are we an insurance company, or a bunch of dimwitted amateurs, writing a policy on a mugg like that? NEFF Wait a minute, Keyes. I do n't rate this beef. I clipped a note to that Gorlopis application to have him thoroughly investigated before we accepted the risk. KEYES I know you did, Walter. I'm not beefing at you. It's the company. The way they do things. The way they do n't do things. The way they'll write anything just to get it down on the sales sheet. And I'm the guy that has to sit here up to my neck in phony claims so they wo n't throw more money out of the window than they take in at the door. NEFF -LRB- Grinning. -RRB- Okay, turn the record over and let's hear the other side. KEYES I get darn sick of picking up after a gang of fast - talking salesmen dumb enough to sell life insurance to a guy that sleeps in the same bed with four rattlesnakes. I've had twenty - six years of that, Walter, and I - NEFF And you loved every minute of it, Keyes. You love it, only you worry about it too much, you and your little man. You're so darn conscientious you're driving yourself crazy. You would n't even say today is Tuesday without you looked at the calendar, and then you would check if it was this year's or last year's calendar, and then you would find out what company printed the calendar, then find out if their calendar checks with the World Almanac's calendar. KEYES That's enough from you, Walter. Get out of here before I throw my desk at you. NEFF I love you, too. He walks out, still grinning.", "EXT. OFFICES - TWELFTH FLOOR Neff comes out of Keys' office and walks back along the balcony. Activity of secretaries going in and out of doors, etc.. Neff enters his own office. NEFF'S VOICE -LRB- Over scene. -RRB- I really did, too, you old crab, always yelling your fat head off, always sore at everyone. But behind the cigar ashes on your vest I kind of knew you had a heart as big as a house. Back in my office there was a phone message from Mrs. Dietrichson about the renewals. She did n't want me to come tomorrow evening. She wanted me to come Thursday afternoon at three - thirty instead. I had a lot of stuff lined up for that Thursday afternoon, including a trip down to Santa Monica to see a couple of live prospects about some group insurance. But I kept thinking about Phyllis Dietrichson and the way that anklet of hers cut into her leg.", "INT. NEFF'S OFFICE Anderson, a salesman, sits at one of the desks, filling out a report. Neff enters, goes to his own desk. He looks down at some mail. On top there is a typewritten note. He reads it, sits down and leafs through his desk calendar. INSERT - CLOSEUP - CALENDAR PAGE Showing date : THURSDAY 23 May and five or six appointments penciled in tightly on the page.", "DIETRICHSON HOME - ENTRANCE HALL - (DAY) THE CAMERA PANS with Phyllis Dietrichson's feet and ankles as she comes down the stairs, her high heels clicking on the tiles. The anklet glistens on her leg as she moves. THE CAMERA PANS ON. Phyllis has reached the entrance hall, and as she walks toward the front door her whole body becomes visible. She wears a gay print dress with a wide sash over her hips. She opens the door. Outside is Neff, wearing a sport coat, flannel slacks. He takes his hat off. PHYLLIS Hello, Mr. Neff. He stands there with a little smile. PHYLLIS Are n't you coming in? NEFF I'm considering it. He comes in. PHYLLIS I hope you did n't mind my changing the appointment. Last night was n't so convenient. NEFF That's okay. I was working on my stamp collection. She leads him toward living room. DIETRICHSON LIVING ROOM Phyllis and Neff come through archway. She heads toward a low tea table which stands in front of the davenport, with tall glasses, ice cubes, lemon, a pot of tea, etc.. PHYLLIS I was just fixing some iced tea. Would you like a glass? NEFF Unless you have a bottle of beer that's not working. PHYLLIS There might be some. I never know what's in the ice box. -LRB- Calls. -RRB- Nettie! She pours herself a glass of tea. PHYLLIS About those renewals, Mr. Neff. I talked to my husband about it. NEFF You did? PHYLLIS Yes. He'll renew with you he told me. In fact, I thought he'd be here this afternoon. NEFF But he's not? PHYLLIS No. NEFF That's terrible. PHYLLIS -LRB- Calls again, impatiently. -RRB- Nettie! Nettie! Oh, I forgot, it's the maid's day off. NEFF Do n't bother, Mrs. Dietrichson. I'd like some iced tea very much. PHYLLIS Lemon? Sugar? NEFF Fix it your way. She fixes him a glass of tea while he is looking around. He slowly sits down. NEFF Seeing it's the maid's day off maybe there's something I can do for you. She hands him the tea. NEFF Like running the vacuum cleaner. PHYLLIS Fresh. NEFF I used to peddle vacuum cleaners. Not much money but you learn a lot about life. PHYLLIS I did n't think you'd learned it from a correspondence course. NEFF Where did you pick up this tea drinking? You're not English, are you? PHYLLIS No. Californian. Born right here in Los Angeles. NEFF They say native Californians all come from Iowa. PHYLLIS I wanted to ask you something, Mr. Neff. NEFF Make it Walter. PHYLLIS Walter. NEFF Right. PHYLLIS Tell me, Walter, on this insurance - how much commission do you make? NEFF Twenty percent. Why? PHYLLIS I thought maybe I could throw a little more business your way. NEFF I can always use it. PHYLLIS I was thinking about my husband. I worry a lot about him, down in those oil fields. It's very dangerous. NEFF Not for an executive, is it? PHYLLIS He does n't just sit behind a desk. He's right down there with the drilling crews. It's got me worried sick. NEFF You mean a crown block might fall on him some rainy night? PHYLLIS Please do n't talk like that. NEFF But that's the idea. PHYLLIS The other day a casing line snapped and caught the foreman. He's in the hospital with a broken back. NEFF Bad. PHYLLIS It's got me jittery just thinking about it. Suppose something like that happened to my husband? NEFF It could. PHYLLIS Do n't you think he ought to have accident insurance? NEFF Uh huh. PHYLLIS What kind of insurance could he have? NEFF Enough to cover doctors' and hospital bills. Say a hundred and twenty - five a week cash benefit. And he'd rate around fifty thousand capital sum. PHYLLIS Capital sum? What's that? NEFF That's if he got killed. Maybe I should n't have said that. PHYLLIS I suppose you have to think of everything in your business. NEFF Mr. Dietrichson would understand. I'm sure I could sell him on the idea of some accident protection. Why do n't I talk to him about it. PHYLLIS You could try. But he's pretty tough going. NEFF They're all tough at first. PHYLLIS He's got a lot on his mind. He does n't want to listen to anything except maybe a baseball game on the radio. Sometimes we sit all evening without saying a word to each other. NEFF Sounds pretty dull. Phyllis shrugs. PHYLLIS So I just sit and knit. NEFF Is that what you married him for? PHYLLIS Maybe I like the way his thumbs hold up the wool. NEFF Anytime his thumbs get tired - PHYLLIS I want to ask you something, Mr. Neff. Could I get an accident policy for him - without bothering him at all? NEFF How's that again. PHYLLIS That would make it easier for you, too. You would n't even have to talk to him. I have a little allowance of my own. I could pay for it and he need n't know anything about it. NEFF Wait a minute. Why should n't he know? PHYLLIS Because I know he does n't want accident insurance. He's superstitious about it. NEFF A lot of people are. Funny, is n't it? PHYLLIS If there was a way to get it like that, all the worry would be over. You see what I mean, Walter? NEFF Sure. I've got good eyesight. You want him to have the policy without him knowing it. And that means without the insurance company knowing that he does n't know. That's the set - up, is n't it? PHYLLIS Is there anything wrong with it? NEFF I think it's lovely. And then, some dark wet night, if that crown block fell on him - PHYLLIS What crown block? NEFF Only sometimes they have to have a little help. They ca n't quite make it on their own. PHYLLIS I do n't know what you're talking about. NEFF Of course, it does n't have to be a crown block. It can be a car backing over him, or he can fall out of an upstairs window. Any little thing like that, as long as it's a morgue job. PHYLLIS Are you crazy? NEFF Not that crazy. Goodbye, Mrs. Dietrichson. He picks up his hat. PHYLLIS What's the matter? NEFF Look, baby, you ca n't get away with it. PHYLLIS Get away with what? NEFF You want to knock him off, do n't you, baby. PHYLLIS That's a horrible thing to say! NEFF Who'd you think I was, anyway? A guy that walks into a good - looking dame's front parlor and says `` Good afternoon, I sell accident insurance on husbands. You got one that's been around too long? Somebody you'd like to turn into a little hard cash? Just give me a smile and I'll help you collect.'' Boy, what a dope I must look to you! PHYLLIS I think you're rotten. NEFF I think you're swell. So long as I'm not your husband. PHYLLIS Get out of here. NEFF You bet I will. You bet I'll get out of here, baby. But quick. He goes out. She looks after him.", "EXT. DIETRICHSON HOME - (DAY) Neff bangs the front door shut, walks quickly to his car and drives away.", "DRIVE - IN RESTAURANT - -LRB- DAY -RRB- Shooting past Neff sitting behind the wheel of his car The car hop hangs a tray on the door and serves him a bottle of beer.", "INT. BOWLING ALLEY Neff bowling. He rolls the ball with an effort at concentration, but his mind is not really on the game.", "EXT. APARTMENT HOUSE - (DUSK) It is late afternoon. The apartment house is called the LOS OLIVOS APARTMENTS. It is a six - story building in the Normandie - Wilshire district, with a basement garage. THE CAMERA PANS UP the front of the building to the top floor windows, as a little rain starts to fall.", "", "INT. NEFF'S APARTMENT - LIVING ROOM - (DUSK) It is a double apartment of conventional design, with kitchen, dinette, and bathroom, squarecut overstuffed borax furniture. Gas logs are lit in the imitation fireplace. Neff stands by the window with his coat off and his tie loose. Raindrops strike against the glass. He turns away impatiently, paces up and down past a caddy bag with golf clubs in it, pulls one out at random, makes a couple of short swings, throws the club on the couch, paces again. NEFF'S VOICE -LRB- Continuing. -RRB- It had begun to rain outside and I watched it get dark and did n't even turn on the light. That did n't help me either. I was all twisted up inside, and I was still holding on to that red - hot poker. And right then it came over me that I had n't walked out on anything at all, that the hook was too strong, that this was n't the end between her and me. It was only the beginning. The doorbell rings. NEFF'S VOICE -LRB- Continuing. -RRB- So at eight o'clock the bell would ring and I would know who it was without even having to think, as if it was the most natural thing in the world. Neff goes to the door and opens it. PHYLLIS Hello. Neff just looks at her. PHYLLIS You forgot your hat this afternoon. She has nothing in her hands but her bag. NEFF Did I? He looks down at her hands. PHYLLIS Do n't you want me to bring it in? NEFF Sure. Put it on the chair. She comes in. He closes the door. NEFF How did you know where I live? PHYLLIS It's in the phone book. Neff switches on the standing lamp. PHYLLIS It's raining. NEFF So it is. Peel off your coat and sit down. She starts to take off her coat. NEFF Your husband out? PHYLLIS Long Beach. They're spudding in a new well. He phoned he'd be late. About nine - thirty. He takes her coat and lays it across the back of a chair. PHYLLIS It's about time you said you're glad to see me. NEFF I knew you would n't leave it like that. PHYLLIS Like what? NEFF Like it was this afternoon. PHYLLIS I must have said something that gave you a terribly wrong impression. You must surely see that. You must never think anything like that about me, Walter. NEFF Okay. PHYLLIS It's not okay. Not if you do n't believe me. NEFF What do you want me to do? PHYLLIS I want you to be nice to me. Like the first time you came to the house. NEFF It ca n't be like the first time. Something has happened. PHYLLIS I know it has. It's happened to us. NEFF That's what I mean. Phyllis has moved over to the window. She stares out through the wet window - pane. NEFF What's the matter now? PHYLLIS I feel as if he was watching me. Not that he cares about me. Not any more. But he keeps me on a leash. So tight I ca n't breathe. I'm scared. NEFF What of? He's in Long Beach, is n't he? PHYLLIS I ought n't to have come. NEFF Maybe you ought n't. PHYLLIS You want me to go? NEFF If you want to. PHYLLIS Right now? NEFF Sure. Right now. By this time, he has hold of her wrist. He draws her to him slowly and kisses her. Her arms tighten around him. After a moment he pulls his head back, still holding her close. NEFF How were you going to do it? PHYLLIS Do what? NEFF Kill him. PHYLLIS Walter, for the last time - She tries to jerk away but he holds her and kisses her again. NEFF I'm crazy about you, baby. PHYLLIS I'm crazy about you, Walter. NEFF That perfume on your hair. What's the name of it? PHYLLIS Something French. I bought it down at Ensenada. NEFF We ought to have some of that pink wine to go with it. The kind that bubbles. But all I have is bourbon. PHYLLIS Bourbon is fine, Walter. He lets her go and moves toward the dinette. THE DINETTE AND KITCHEN It contains a small table and some chairs. A low glass - and - china cabinet is built between the dinette and kitchen, leaving a space like a doorway. The kitchen is the usual apartment house kitchen, with stove, ice - box, sink, etc.. It is quite small. Neff goes to the ice - box and Phyllis drifts in after him. NEFF Soda? PHYLLIS Plain water, please. NEFF Get a couple of glasses, will you. He points at the china closet. He has taken a tray of ice cubes from the refrigerator and is holding it under the hot - water faucet. NEFF You know, about six months ago a guy slipped on the soap in his bathtub and knocked himself cold and drowned. Only he had accident insurance. So they had an autopsy and she did n't get away with it. Phyllis has the glasses now. She hands them to him. He dumps some ice cubes into the glasses. PHYLLIS Who did n't? NEFF His wife. He reaches for the whiskey bottle on top of the china closet. NEFF And there was another case where a guy was found shot and his wife said he was cleaning a gun and his stomach got in the way. All she collected was a three - to - ten stretch in Tehachapi. PHYLLIS Perhaps it was worth it to her. Neff hands her a glass. NEFF See if you can carry this as far as the living room. They move back toward the living room. LIVING ROOM Phyllis and Neff go toward the davenport. She is sipping her drink and looking around. PHYLLIS It's nice here, Walter. Who takes care of it for you? NEFF A colored woman comes in twice a week. PHYLLIS You get your own breakfast? NEFF Once in a while I squeeze a grapefruit. The rest I get at the corner drugstore. They sit on the davenport, fairly close together. PHYLLIS It sounds wonderful. Just strangers beside you. You do n't know them. You do n't hate them. You do n't have to sit across the table and smile at him and that daughter of his every morning of your life. NEFF What daughter? Oh, that little girl on the piano. PHYLLIS Yes. Lola. She lives with us. He thinks a lot more of her than he does of me. NEFF Ever think of a divorce? PHYLLIS He would n't give me a divorce. NEFF I suppose because it would cost him money. PHYLLIS He has n't got any money. Not since he went into the oil business. NEFF But he had when you married him? PHYLLIS Yes, he had. And I wanted a home. Why not? But that was n't the only reason. I was his wife's nurse. She was sick for a long time. When she died, he was all broken up. I pitied him so. NEFF And now you hate him. PHYLLIS Yes, Walter. He's so mean to me. Every - time I buy a dress or a pair of shoes he yells his head off. He wo n't let me go anywhere. He keeps me shut up. He's always been mean to me. Even his life insurance all goes to that daughter of his. That Lola. NEFF Nothing for you at all, huh? PHYLLIS No. And nothing is just what I'm worth to him. NEFF So you lie awake in the dark and listen to him snore and get ideas. PHYLLIS Walter, I do n't want to kill him. I never did. Not even when he gets drunk and slaps my face. NEFF Only sometimes you wish he was dead. PHYLLIS Perhaps I do. NEFF And you wish it was an accident, and you had that policy. For fifty thousand dollars. Is that it? PHYLLIS Perhaps that too. She takes a long drink. PHYLLIS The other night we drove home from a party. He was drunk again. When we got into the garage he just sat there with his head on the steering wheel and the motor still running. And I thought what it would be like if I did n't switch it off, just closed the garage door and left him there. NEFF I'll tell you what it would be like, if you had that accident policy, and tried to pull a monoxide job. We have a guy in our office named Keyes. For him a set - up like that would be just like a slice of rare roast beef. In three minutes he'd know it was n't an accident. In ten minutes you'd be sitting under the hot lights. In half an hour you'd be signing your name to a confession. PHYLLIS But Walter, I did n't do it. I'm not going to do it. NEFF Not if there's an insurance company in the picture, baby. So long as you're honest they'll pay you with a smile, but you just try to pull something like that and you'll find out. They know more tricks than a carload of monkeys. And if there's a death mixed up in it, you have n't got a prayer. They'll hang you as sure as ten dimes will buy a dollar, baby. She begins to cry. He puts his arms around her and kisses her. NEFF Just stop thinking about it, will you. He holds her tight. Their heads touch, side by side, THE CAMERA SLOWLY STARTS TO RECEDE as we", "INT. NEFF'S OFFICE - (NIGHT) Neff sits in the swivel chair, talking into the dictaphone. He has hooked the wastebasket under his feet to sit more comfortably. As he talks, a little cough shakes him now and then. NEFF So we just sat there, and she kept on crying softly, like the rain on the window, and we did n't say anything. Maybe she had stopped thinking about it, but I had n't. I could n't. Because it all tied up with something I had been thinking about for years, since long before I ever ran into Phyllis Dietrichson. Because, in this business you ca n't sleep for trying to figure out the tricks they could pull on you. You're like the guy behind the roulette wheel, watching the customers to make sure they do n't crook the house. And then one night, you get to thinking how you could crook the house yourself. And do it smart. Because you've got that wheel right under your hands. And you know every notch in it by heart. And you figure all you need is a plant out in front, a shill to put down the bet. And suddenly the doorbell rings and the whole set - up is right there in the room with you. Look, Keyes, I'm not trying to whitewash myself. I fought it, only maybe I did n't fight it hard enough. The stakes were fifty thousand dollars, but they were the life of a man, too, a man who'd never done me any dirt. Except he was married to a woman he did n't care anything about, and I did.", "INT. NEFF'S APARTMENT LIVING ROOM CAMERA MOVES SLOWLY towards the davenport again. Neff sits in one corner with his feet on the low table. He is smoking his cigarette and staring at the ceiling. Phyllis has been sitting fairly close to him. She gets up slowly and crosses to her rain coat, lying over a chair. PHYLLIS I've got to go now, Walter. Neff does not answer. He keeps on staring at the ceiling. She starts to put the rain coat on. PHYLLIS Will you call me, Walter? Neff still does not answer. PHYLLIS Walter! He looks at her slowly, almost absently. PHYLLIS I hate him. I loathe going back to him. You believe me, do n't you, Walter? NEFF Sure I believe you. PHYLLIS I ca n't stand it anymore. What if they did hang me? NEFF You're not going to hang, baby. PHYLLIS It's better than going on this way. NEFF - you're not going to hang, baby. Not ever. Because you're going to do it the smart way. Because I'm going to help you. PHYLLIS You! NEFF Me. PHYLLIS Do you know what you're saying? NEFF Sure I know what I'm saying. He gets up and grips her arm. NEFF We're going to do it together. We're going to do it right. And I'm the guy that knows how. There is fierce determination in his voice. His fingers dig into her arm. PHYLLIS Walter, you're hurting me. NEFF There is n't going to be any slip up. Nothing sloppy. Nothing weak. It's got to be perfect. He kisses her. NEFF You go now. He leads her towards the door. NEFF Call me tomorrow. But not from your house. From a booth. And watch your step. Every single minute. It's got to be perfect, understand. Straight down the line. They have now reached the door. Neff opens it. Phyllis stands in the doorway, her lips white. PHYLLIS Straight down the line. She goes quietly. He watches her down the corridor. Slowly he closes the door and goes back into the room. He moves across the window and opens it wide. He stands there, looking down into the dark street. From below comes the sound of a car starting and driving off. The rain drifts in against his face. He just stands there motionless. His mind is going a hundred miles a minute.", "INT. NEFF'S OFFICE - (NIGHT) Neff sits slumped in his chair before the dictaphone. On the desk next to him stands a used record. The cylinder on the dictaphone is not turning. He is smoking a cigarette. He kills it then lifts the needle and slides off the record which is on the machine and stands it on end on the desk beside the other used record. He reaches down painfully to take another record from the rack beneath the dictaphone, looks at it against the light to make sure it has not been used, then slides it into place on the machine and resets the needle. He lifts the horn and resumes his dictation. NEFF The first thing we had to do was fix him up with that accident policy. I knew he would n't buy, but all I wanted was his signature on an application. So I had to make him sign without his knowing what he was signing. And I wanted a witness other than Phyllis to hear me give him a sales talk. I was trying to think with your brains, Keyes. I wanted all the answers ready for all the questions you were going to spring as soon as Dietrichson was dead. Neff takes a last drag on his cigarette and kills it by running it under the ledge of the dictaphone stand. He drops the stub on the floor and resumes. NEFF A couple of nights later I went to the house. Everything looked fine, except I did n't like the witness Phyllis had brought in. It was Dietrichson's daughter Lola, and it made me feel a little queer in the belly to have her right there in the room, playing Chinese checkers, as if nothing was going to happen. A BOARD OF CHINESE CHECKERS CAMERA WITHDRAWS AND GRADUALLY REVEALS THE DIETRICHSON LIVING ROOM - NIGHT The checker - board is on the davenport between Phyllis and Lola. Mr. Dietrichson sits in a big easy chair. His coat and tie are over the back of the chair, and the evening paper is lying tumbled on the floor beside him. He is smoking a cigar with the band on it. He has a drink in front of him and several more inside him. In another chair sits Neff, his briefcase on the floor, leaning against his chair. He holds his rate book partly open, with a finger in it for a marker. He is going full swing. NEFF I suppose you realize, Mr. Dietrichson, that, not being an employee, you are not covered by the State Compensation Insurance Act. The only way you can protect yourself is by having a personal policy of your own. DIETRICHSON I know all about that. The next thing you'll tell me I need earthquake insurance and lightning insurance and hail insurance. Phyllis looks up from the checker - board and cuts in on the dialogue. Lola listens without much interest. PHYLLIS -LRB- To Dietrichson. -RRB- If we bought all the insurance they can think up, we'd stay broke paying for it, would n't we, honey? DIETRICHSON What keeps us broke is you going out and buying five hats at a crack. Who needs a hat in California? NEFF I always say insurance is a lot like a hot water bottle. It looks kind of useless and silly hanging on the hook, but when you get that stomach ache in the middle of the night, it comes in mighty handy. DIETRICHSON Now you want to sell me a hot water bottle. NEFF Dollar for dollar, accident insurance is the cheapest coverage you can buy, Mr. Dietrichson. DIETRICHSON Maybe some other time, Mr. Neff. I had a tough day. NEFF Just as you say, Mr. Dietrichson. DIETRICHSON Suppose we just settle that automobile insurance tonight. NEFF Sure. All we need on that is for you to sign an application for renewal. Phyllis throws a quick glance at Neff. As she looks back she sees that Lola is staring down at her wrist watch. LOLA Phyllis, do you mind if we do n't finish this game? It bores me stiff. PHYLLIS Got some thing better to do? LOLA Yes, I have. She gets up. LOLA -LRB- To Dietrichson. -RRB- Father, is it all right if I run along now? DIETRICHSON Run along where? Who with? LOLA Just Anne. We're going roller skating. DIETRICHSON Anne who? LOLA Anne Matthews. PHYLLIS It's not that Nino Zachetti again? DIETRICHSON It better not be that Zachetti guy. If I ever catch you with that - LOLA It's Anne Matthews, I told you. I also told you we're going roller skating. I'm meeting her at the corner of Vermont and Franklin - the north - west corner, in case you're interested. And I'm late already. I hope that is all clear. Good night, Father. Good night, Phyllis. She starts to go. NEFF Good night, Miss Dietrichson. LOLA Oh, I'm sorry. Good night, Mr. - NEFF Neff. LOLA Good night, Mr. Neff. PHYLLIS Now you're not going to take my car again. LOLA No thanks. I'd rather be dead. She goes out through the archway. DIETRICHSON A great little fighter for her weight. Dietrichson sucks down a big swallow of his drink. Neff has taken two blank forms from his briefcase. He puts the briefcase on Mr. Dietrichson's lap and lays the forms on top. Phyllis is watching closely. NEFF This is where you sign, Mr. Dietrichson. DIETRICHSON Sign what? NEFF The applications for your auto renewals. So you'll be protected until the new policies are issued. DIETRICHSON When will that be? NEFF In about a week. DIETRICHSON Just so I'm covered when I drive up North. Neff takes out his fountain pen. NEFF San Francisco, Mr. Dietrichson? DIETRICHSON Palo Alto. PHYLLIS He was a Stanford man, Mr. Neff. And he still goes to his class reunion every year. DIETRICHSON What's wrong with that? Ca n't I have a little fun even once a year? NEFF Great football school, Stanford. Did you play football, Mr. Dietrichson? DIETRICHSON Left guard. Almost made the varsity, too. Neff has unscrewed his fountain pen. He hands it to Mr. Dietrichson. Dietrichson puts on his glasses. NEFF On that bottom line, Mr. Dietrichson. Dietrichson signs. Neff's and Phyllis' eyes meet for a split second. NEFF Both copies, please. He withdraws the top copy barely enough to expose the signature line on the supposed duplicate. DIETRICHSON Sign twice, huh? NEFF One is the agent's copy. I need it for my files. DIETRICHSON -LRB- In a mutter. -RRB- Files. Duplicates. Triplicates. Dietrichson grunts and signs again. Again Neff and Phyllis exchange a quick glance. NEFF No hurry about the check, Mr. Dietrichson. I can pick it up at your office some morning. Casually Neff lifts the briefcase and signed applications off Dietrichson's lap. DIETRICHSON How much you taking me for? NEFF One forty - seven fifty, Mr. Dietrichson. Dietrichson stands up. He is about Neff's height but a little heavier. PHYLLIS I guess that's enough insurance for one evening, Mr. Neff. DIETRICHSON Plenty. Dietrichson has poured some more whisky into his glass. He tries the siphon but it is empty. He gathers up his coat and tie and picks up his glass. DIETRICHSON Good night, Mr. Neff. Neff is zipping up his briefcase. NEFF Good night, Mr. Dietrichson. Good night, Mrs. Dietrichson. DIETRICHSON Bring me some soda when you come up, Phyllis. Dietrichson trundles off towards the archway. PHYLLIS -LRB- To Neff. -RRB- I think you left your hat in the hall. Phyllis leads the way and Neff goes after her, his briefcase under his arm. HALLWAY DIETRICHSON RESIDENCE - -LRB- NIGHT -RRB- Phyllis enters through the living room archway with Neff behind her. She leads him towards the door. On the way he picks up his hat. In the BACKGROUND Dietrichson begins to ascend the stairs, carrying his coat and glass. Phyllis and Neff move close to the door. They speak in very low voices. PHYLLIS All right, Walter? NEFF Fine. PHYLLIS He signed it, did n't he? NEFF Sure he signed it. You saw him. Phyllis opens the door a crack. Both look at the stairs, where Dietrichson is going up. Phyllis takes her hand off the doorknob and holds on to Neff's arm. NEFF -LRB- Looking up. -RRB- Watch it, will you. Phyllis slowly drops her hand from his arm. Both look up as Dietrichson goes across the balcony and out of sight. NEFF Listen. That trip to Palo Alto When does he go? PHYLLIS End of the month. NEFF He drives, huh? PHYLLIS He always drives. NEFF Not this time. You're going to make him take the train. PHYLLIS Why? NEFF Because it's all worked out for a train. For a second they stand listening and looking up as if they had heard a sound. PHYLLIS It's all right. Go on, Walter. NEFF Look, baby. There's a clause in every accident policy, a little something called double indemnity. The insurance companies put it in as a sort of come - on for the customers. It means they pay double on certain accidents. The kind that almost never happen. Like for instance if a guy got killed on a train, they'd pay a hundred thousand instead of fifty. PHYLLIS I see. -LRB- Her eyes widen with excitement. -RRB- NEFF We're hitting it for the limit, baby. That's why it's got to be a train. PHYLLIS It's going to be a train, Walter. Just the way you say. Straight down the line. They look at each other. The look is like a long kiss. Neff goes out. Slowly Phyllis closes the door and leans her head against it as she looks up the empty stairway.", "EXT. DIETRICHSON RESIDENCE - (NIGHT) Neff, briefcase under his arm, comes down the steps to the street, where his Dodge coupe is parked at the curb. He opens the door and stops, looking in. Sitting there in the dark corner of the car, away from the steering wheel, is Lola. She wears a coat but no hat. LOLA Hello, Mr. Neff. It's me. Lola gives him a sly smile. Neff is a little annoyed. NEFF Something the matter? LOLA I've been waiting for you. NEFF For me? What for? LOLA I thought you could let me ride with you, if you're going my way. Neff does n't like the idea very much. NEFF Which way would that be? LOLA Down the hill. Down Vermont. NEFF -LRB- Remembering. -RRB- Oh, sure. Vermont and Franklin. North - west corner, was n't it? Be glad to, Miss Dietrichson. Neff gets into the car.", "INT. COUPE - (NIGHT) - (TRANSPARENCY) Neff puts the briefcase on the ledge behind the driver's seat. He closes the door and starts the car. They drift down the hill. NEFF Roller skating, eh? You like roller skating? LOLA I can take it or leave it. Neff looks at her curiously. Lola meets his glance. NEFF Only tonight you're leaving it? This is an embarrassing moment for Lola. LOLA Yes, I am. You see, Mr. Neff, I'm having a very tough time at home. My father does n't understand me and Phyllis hates me. NEFF That does sound tough, all right. LOLA That's why I have to lie sometimes. NEFF You mean it's not Vermont and Franklin. LOLA It's Vermont and Franklin all right. Only it's not Anne Matthews. It's Nino Zachetti. You wo n't tell on me, will you? NEFF I'd have to think it over. LOLA Nino's not what my father says at all. He just had bad luck. He was doing pre - med at U.S.C. and working nights as an usher in a theater downtown. He got behind in his credits and flunked out. Then he lost his job for talking back. He's so hot - headed. NEFF That comes expensive, does n't it? LOLA I guess my father thinks nobody's good enough for his daughter except maybe the guy that owns Standard Oil. Would you like a stick of gum? NEFF Never use it, thanks. Lola puts a stick of gum in her mouth. LOLA I ca n't give Nino up. I wish father could see it my way. NEFF It'll straighten out all right, Miss Dietrichson. LOLA I suppose it will sometime. -LRB- Looking out. -RRB- This is the corner right here, Mr. Neff. Neff brings the car to a stop by the curb. LOLA There he is. By the bus stop. Neff looks out. CORNER VERMONT AND FRANKLIN - -LRB- NIGHT -RRB- Zachetti stands waiting, hands in trouser pockets. He is about twenty - five, Italian looking, open shirt, not well dressed.", "INT. COUPE - (NIGHT) - LOLA AND NEFF LOLA He needs a hair - cut, does n't he. Look at him. No job, no car, no money, no prospects, no nothing. -LRB- Pause. -RRB- I love him. She leans over and honks on the horn. LOLA -LRB- Calling. -RRB- Nino! ZACHETTI He turns around and looks towards the car. LOLA'S VOICE Over here, Nino. Zachetti walks towards the car. THE COUPE Neff and Lola. She has opened the door. Zachetti comes up. LOLA This is Mr. Neff, Nino. NEFF Hello, Nino. ZACHETTI -LRB- Belligerent from the first word. -RRB- The name is Zachetti. LOLA Nino. Please. Mr. Neff gave me a ride from the house. I told him all about us. ZACHETTI Why does he have to get told about us? LOLA We do n't have to worry about Mr. Neff, Nino. ZACHETTI I'm not doing any worrying. Just do n't you broadcast so much. LOLA What's the matter with you, Nino? He's a friend. ZACHETTI I do n't have any friends. And if I did, I like to pick them myself. NEFF Look, sonny, she needed the ride and I brought her along. Is that anything to get tough about? ZACHETTI All right, Lola, make up your mind. Are you coming or are n't you? LOLA Of course I'm coming. Do n't mind him, Mr. Neff. Lola steps out of the car. LOLA Thanks a lot. You've been very sweet. Lola catches up with Zachetti and they walk away together.", "INT. COUPE Neff looks after them. Slowly he puts the car in gear and drives on. His face is tight. Behind his head, light catches the metal of the zipper on the briefcase. Over the shot comes the COMMENTARY : NEFF'S VOICE She was a nice kid and maybe he was a little better than he sounded. I kind of hoped so for her sake, but right then it gave me a nasty feeling to be thinking about them at all, with that briefcase right behind my head and her father's application in it. Besides, I had other problems to work out. There were plans to make, and Phyllis had to be in on them.", "EXT. SUPER MARKET - (DAY) There is a fair amount of activity but the place is not crowded. Neff comes along the sidewalk into the shot. He passes in front of the fruit and vegetable display and goes between the stalls into the market. NEFF'S VOICE -LRB- Continued. -RRB-. but we could n't be seen together any more and I had told her never to call me from her house and never to call me at my office. So we had picked out a big market on Los Feliz. She was to be there buying stuff every day about eleven o'clock, and I could run into her there. Kind of accidentally on purpose.", "INT. MARKET Neff stops by the cashier's desk and buys a pack of cigarettes. As he is opening the pack he looks back casually beyond the turnstile into the rear part of the market. ROWS OF HIGH SHELVES IN MARKET The shelves are loaded with canned goods and other merchandise. Customers move around selecting articles and putting them in their baskets. Phyllis is seen among them, standing by the soap section. Her basket is partly filled. She wears a simple house dress, no hat, and has a large envelope pocketbook under her arm.", "INT. MARKET Neff has spotted Phyllis. Without haste he passes through the turnstile towards the back. THE SHELVES Phyllis is putting a can of cleaning powder into her basket. Neff enters the shot and moves along the shelves towards her, very slowly, pretending to inspect the goods. A customer passes and goes on out of scene. Phyllis and Neff are now very close. During the ensuing low - spoken dialogue, they continue to face the shelves, not looking at each other PHYLLIS Walter. NEFF Not so loud. PHYLLIS I wanted to talk to you, Walter. Ever since yesterday. NEFF Let me talk first. It's all set. The accident policy came through. I've got it in my pocket. I got his check too. I saw him down in the oil fields. He thought he was paying for the auto insurance. The check's just made out to the company. It could be for anything. But you have to send a check for the auto insurance, see. It's all right that way, because one of the cars is yours. PHYLLIS But listen, Walter - NEFF Quick, open your bag. She hesitates, then opens it. Neff looks around quickly, slips the policy out of his pocket and drops it into her bag. She snaps the bag shut. NEFF Can you get into his safe deposit box? PHYLLIS Yes. We both have keys. NEFF Fine. But do n't put the policy in there yet. I'll tell you when. And listen, you never touched it or even saw it, understand? PHYLLIS I'm not a fool. NEFF Okay. When is he taking the train? PHYLLIS Walter, that's just it. He is n't going. NEFF What? PHYLLIS That's what I've been trying to tell you. The trip is off. NEFF What's happened? He breaks off as a short, squatty woman, pushing a child in a walker, comes into sight and approaches. She stops beside Neff, who is pretending to read a label on a can. Phyllis puts a few cakes of soap into her basket. WOMAN -LRB- To Neff. -RRB- Mister, could you reach me that can of coffee? -LRB- She points. -RRB- That one up there. NEFF -LRB- Reaching up. -RRB- This one? She nods. Neff reaches a can down from the high shelf and hands it to her. WOMAN I do n't see why they always have to put what I want on the top shelf. She moves away with her coffee and her child. Out of the corner of his eye Neff watches her go. He moves closer to Phyllis again. NEFF Go ahead. I'm listening. PHYLLIS He had a fall down at the well. He broke his leg. It's in a cast. NEFF That knocks it on the head all right. PHYLLIS What do we do, Walter? NEFF Nothing. Just wait. PHYLLIS Wait for what? NEFF Until he can take a train. I told you it's got to be a train. PHYLLIS We ca n't wait. I ca n't go on like this. NEFF We're not going to grab a hammer and do it quick, just to get it over with. PHYLLIS There are other ways. NEFF Only we're not going to do it other ways. PHYLLIS But we ca n't leave it like this. What do you think would happen if he found out about this accident policy? NEFF Plenty. But not as bad as sitting in that death - house. PHYLLIS Do n't ever talk like that, Walter. NEFF Just do n't let's start losing our heads. PHYLLIS It's not our heads. It's our nerve we're losing. NEFF We're going to do it right. That's all I said. PHYLLIS Walter maybe it's my nerves. It's the waiting that gets me. NEFF It's getting me just as bad, baby. But we've got to wait. PHYLLIS Maybe we have, Walter. Only it's so tough without you. It's like a wall between us. Neff looks at his watch. NEFF Good - bye baby. I'm thinking of you every minute. He goes off. She stares after him.", "NEFF'S OFFICE - (DAY) He is wearing a light grey suit and has his hat on. He is standing behind his desk opening some mail, taking a few papers out of his briefcase, checking something in his rate book, making a quick telephone call. But nothing of this is heard. NEFF'S VOICE After that a full week went by and I did n't see her once. I tried to keep my mind off her and off the whole idea. I kept telling myself that maybe those fates they say watch over you had gotten together and broken his leg to give me a way out. Then it was the fifteenth of June. You may remember that date, Keyes. I do too, only for a very different reason. You came into my office around three in the afternoon. Keyes enters with some papers in his hand. NEFF Hello, Keyes. KEYES I just came from Norton's office. The semi - annual sales records are out. You're high man, Walter. That's twice in a row. Congratulations. NEFF Thanks. How would you like a cheap drink? KEYES How would you like a fifty dollar cut in salary? NEFF How would I - Do I laugh now, or wait until it gets funny? KEYES I'm serious, Walter. I've been talking to Norton. There's too much stuff piling up on my desk. Too much pressure on my nerves. I spend half the night walking up and down in my bed. I've got to have an assistant. I thought that you - NEFF Me? Why pick on me? KEYES Because I've got a crazy idea you might be good at the job. NEFF That's crazy all right. I'm a salesman. KEYES Yeah. A peddler, a glad - hander, a back - slapper. You're too good to be a salesman. NEFF Nobody's too good to be a salesman. KEYES Phooey. All you guys do is ring door - bells and dish out a smooth line of monkey talk. What's bothering you is that fifty buck cut, is n't it? NEFF That'd bother anybody. KEYES Look, Walter. The job I'm talking about takes brains and integrity. It takes more guts than there is in fifty salesman. It's the hottest job in the business. NEFF It's still a desk job. I do n't want a desk job. KEYES A desk job. Is that all you can see in it? Just a hard chair to park your pants on from nine to five. Just a pile of papers to shuffle around, and five sharp pencils and a scratch pad to make figures on, with maybe a little doodling on the side. That's not the way I see it, Walter. To me a claims man is a surgeon, and that desk is an operating table, and those pencils are scalpels and bone chisels. And those papers are not just forms and statistics and claims for compensation. They're alive, they're packed with drama, with twisted hopes and crooked dreams. A claims man, Walter, is a doctor and a blood - hound and a cop and a judge and a jury and a father confessor, all in one. The telephone rings on Neff's desk. Automatically Keyes grabs the phone and answers. KEYES Who? Okay, hold the line. He puts the phone down on the desk and continues to Neff : KEYES And you want to tell me you're not interested. You do n't want to work with your brains. All you want to work with is your finger on a door - bell. For a few bucks more a week. There's a dame on your phone. Neff picks the phone up and answers. NEFF Walter Neff speaking.", "INT. PHONE BOOTH - MARKET Phyllis is on the phone. PHYLLIS I had to call you, Walter. It's terribly urgent. Are you with somebody? NEFF'S OFFICE Neff on the phone. His eye catches Keyes', who is walking up and down. NEFF Of course I am. Ca n't I call you back. Margie? PHYLLIS - ON PHONE PHYLLIS Walter, I've only got a minute. It ca n't wait. Listen. He's going tonight. On the train. Are you listening, Walter? Walter! NEFF - ON PHONE His eyes are on Keyes. He speaks into the phone as calmly as possible. NEFF I'm listening. Only make it short. Margie. PHYLLIS - ON PHONE PHYLLIS He's on crutches. The doctor says he can go if he's careful. The change will do him good. It's wonderful, Walter. Just the way you wanted it. Only with the crutches it's ever so much better, is n't it? NEFF'S OFFICE Neff on phone. NEFF One hundred percent better. Hold the line a minute. He covers the receiver with his hand and turns to Keyes, who is now standing at the window. NEFF Suppose I join you in your office, Keyes - He makes a gesture as if expecting Keyes to leave. Keyes stays right where he is. KEYES I'll wait. Only tell Margie not to take all day. Neff looks at Keyes' back with a strained expression, then lifts the phone again. NEFF Go ahead. PHYLLIS, ON PHONE PHYLLIS It's the ten - fifteen from Glendale. I'm driving him. Is it still that same dark street? NEFF, ON PHONE He is still watching Keyes cautiously. NEFF Yeah - sure. A CLOSEUP - PHYLLIS - ON PHONE PHYLLIS The signal is three honks on the horn. Is there anything else? B CLOSEUP NEFF, ON PHONE NEFF What color did you pick out? PHYLLIS, ON PHONE PHYLLIS Color? -LRB- She catches on. -RRB- Oh, sure. The blue suit, Walter. Navy blue. And the cast on his left leg. NEFF, ON PHONE NEFF Navy blue. I like that fine. PHYLLIS, ON PHONE PHYLLIS This is it, Walter. I'm shaking like a leaf. But it's straight down the line now for both of us. I love you, Walter. Goodbye. NEFF'S OFFICE Neff on the phone. NEFF So long, Margie. He hangs up. His mouth is grim, but he forces a smile as Keyes turns. NEFF I'm sorry, Keyes. KEYES What's the matter? The dames chasing you again? Or still? Or is it none of my business? NEFF -LRB- With a sour smile. -RRB- If I told you it was a customer - KEYES Margie! I bet she drinks from the bottle. Why do n't you settle down and get married, Walter? NEFF Why do n't you, for instance? KEYES I almost did, once. A long time ago. Neff gets up from his desk. NEFF Look, Keyes, I've got a prospect to call on. Keyes drives right ahead. KEYES We even had the church all picked out, the dame and I. She had a white satin dress with flounces on it. And I was on my way to the jewelry store to buy the ring. Then suddenly that little man in here started working on me. He punches his stomach with his fist. NEFF So you went back and started investigating her. That it? Keyes nods slowly, a little sad and a little ashamed. KEYES And the stuff that came out. She'd been dyeing her hair ever since she was sixteen. And there was a manic - depressive in her family, on her mother's side. And she already had one husband, a professional pool player in Baltimore. And as for her brother - NEFF I get the general idea. She was a tramp from a long line of tramps. He picks up some papers impatiently. KEYES All right, I'm going. What am I to say to Norton? How about that job I want you for? NEFF I do n't think I want it. Thanks, Keyes, just the same. KEYES Fair enough. Just get this : I picked you for the job, not because I think you're so darn smart, but because I thought maybe you were a shade less dumb than the rest of the outfit. I guess I was all wet. You're not smarter, Walter. You're just a little taller. He goes out. Neff is alone. He watches the door close, then turns and goes slowly to the water cooler. He fills a paper cup and stands holding it. His thoughts are somewhere else. After a moment he absently throws the cupful of water into the receptacle under the cooler. He goes back to the desk. He takes his rate book out of his brief case and puts it on the desk. He buttons the top button of his shirt, and pulls his tie right. He leaves the office, with his briefcase under his arm. NEFF'S VOICE That was it, Keyes, and there was no use kidding myself any more. Those fates I was talking about had only been stalling me off. Now they had thrown the switch. The gears had meshed. The machinery had started to move and nothing could stop it. The time for thinking had all run out. From here on it was a question of following the time table, move by move, just as we had it rehearsed. I wanted my time all accounted for for the rest of the afternoon and up to the last possible moment in the evening. So I arranged to call on a prospect in Pasadena about a public liability bond. When I left the office I put my rate book on the desk as if I had forgotten it. That was part of the alibi.", "EXT. NEFF'S APT. HOUSE DAY Neff's coupe comes down the street and swings into the garage and goes down the ramp into the basement. NEFF'S VOICE I got home about seven and drove right into the garage. This was another item to establish my alibi.", "INT. GARAGE There are about eight cars parked. A colored attendant in coveralls and rubber boots is washing a car with a hose and sponge. Neff's car comes into the shot and stops near the attendant. Neff gets out with his briefcase under his arm. ATTENDANT Hiya there, Mr. Neff. NEFF How about a wash job on my heap, Charlie? ATTENDANT How soon you want it, Mr. Neff? I got two cars ahead of you. NEFF Anytime you get to it, Charlie. I'm staying in tonight. ATTENDANT Okay, Mr. Neff. Be all shined up for you in the morning. Neff is crossing to the elevator. He speaks back over his shoulder : NEFF That left front tire looks a little soft. Check it, will you? ATTENDANT You bet. Check'em all round. Always do. Neff enters the elevator.", "NEFF'S APT. - (DAY) Neff enters. He walks straight to the phone, dials, and starts speaking into the mouthpiece, but only the COMMENTARY is heard. NEFF'S VOICE Up in my apartment I called Lou Schwartz, one of the salesmen that shared my office. He lived in Westwood. That made it a toll call and there'd be a record of it. I told him I had forgotten my rate book and needed some dope on the public liability bond I was figuring. I asked him to call me back. This was another item in my alibi, so that later on I could prove that I had been home.", "INT. NEFF'S LIVING ROOM Neff comes into the living room from the bedroom, putting on the jacket of his blue suit. THE PHONE RINGS. He picks up the receiver and starts talking, unheard, as before. He makes notes on a pad.", "NEFF He is folding a hand towel and stuffing it into his jacket pocket. He then takes a large roll of adhesive tape and puts that into his pants pocket.", "& B - 35 INSERTS OF OPEN TELEPHONE BELL BOX -LRB- ON BASEBOARD -RRB- & DOORBELL -LRB- ABOVE ENTRANCE DOOR -RRB- Neff's hand places a small card against the bell clapper in each of these.", "FIRE STAIRS, APT. HOUSE (NIGHT) CAMERA PANS with Neff going down the stairs in his blue suit, with a hat pulled down over his eyes.", "EXT. DIETRICHSON HOME - (NIGHT) - LONG SHOT - NO TRAFFIC Some windows are lit. Neff comes into the shot and approaches cautiously. He looks around and then slides open the garage door.", "INT. GARAGE Neff closes the garage door. Very faint light comes in at a side window. He opens the rear door of the sedan, gets in and closes the door after him. The dark interior of the car has swallowed him up. NEFF'S VOICE Then I was in the garage. His car was backed in, just the way I told Phyllis to have it. It was so still I could hear the ticking of the clock on the dashboard. I kept thinking of the place we had picked out to do it, that dark street on the way to the station, and the three honks on the horn that were to be the signal. About ten minutes later they came down.", "EXT. DIETRICHSON HOUSE The front door has opened and Dietrichson is half - way down the steps. He is walking with crutches, wearing the dark blue suit and a hat. The cast is on his left leg. There is no shoe on his left foot. Only the white plaster shows. Phyllis comes after him, carrying his suitcase and his overcoat. She wears a camel's - hair coat and no hat. She catches up with him. PHYLLIS You all right, honey? I'll have the car out in a second. Dietrichson just grunts. She passes him to the garage, CAMERA WITH HER, and slides the door open.", "INT. GARAGE THE CAMERA IS VERY LOW INSIDE THE SEDAN, shooting slightly upwards from Neff's hiding place. The garage door has just been opened. Phyllis comes to the car, opens the rear door. She looks down, almost INTO THE CAMERA. A tight, cool smile flashes across her face. Then, very calmly, she puts the suitcase and overcoat in back on the seat -LRB- out of shot -RRB-. She closes the door again.", "EXT. GARAGE Dietrichson stands watching Phyllis as she gets into the car and drives out to pick him up. She stops beside him and opens the right - hand door. Dietrichson climbs in with difficulty. She helps him, watching him closely. PHYLLIS Take it easy, honey. We've got lots of time. DIETRICHSON Just let me do it my own way. Grab that crutch. She takes one of the crutches from him. DIETRICHSON They ought to make these things so they fold up. For a moment, as he leans his hand on the back of the seat, there is danger that he may see Neff. He does n't. He slides awkwardly into the seat and pulls the second crutch in after him. He closes the door. The car moves off.", "INT. CAR Phyllis driving and Dietrichson beside her, face TOWARDS THE CAMERA. Dietrichson has a partly smoked cigar between his teeth. They are in the middle of a conversation. DIETRICHSON Aw, stop squawkin' ca n't you, Phyllis? No man takes his wife along to a class reunion. That's what class reunions are for. PHYLLIS Mrs. Tucker went along with her husband last year, did n't she. DIETRICHSON Yeah, and what happened to her? She sat in the hotel lobby for four days straight. Never even saw the guy until we poured him back on the train. CLOSEUP ON NEFF'S FACE LOW DOWN IN THE CORNER BEHIND DIETRICHSON His face is partly covered by the edge of a traveling rug which he has pulled up over him. He looks up at Dietrichson and Phyllis in the front seat. PHYLLIS' VOICE All right, honey. Just so long as you have a good time. DIETRICHSON'S VOICE I wo n't do much dancing, I can tell you that. HEADS & SHOULDERS OF DIETRICHSON & PHYLLIS - AS SEEN BY NEFF PHYLLIS Remember what the doctor said. If you get careless you might end up with a shorter leg. DIETRICHSON So what? I could break the other one and match them up again. PHYLLIS It makes you feel pretty good to get away from me, does n't it? PHYLLIS & DIETRICHSON - FACING CAMERA DIETRICHSON It's only for four days. I'll be back Monday at the latest. PHYLLIS Do n't forget we're having the Hobeys for dinner on Monday. DIETRICHSON The Hobeys? We had them last. They owe us a dinner, do n't they? PHYLLIS Maybe they do but I've already asked them for Monday. DIETRICHSON Well, I do n't want to feed the Hobeys. CLOSEUP - PHYLLIS' FACE ONLY There is a look of tension in her eyes now. She glances around quickly. The car has reached the dark street Neff and she picked out. DIETRICHSON'S VOICE And I do n't want to eat at their house either. The food you get there, and that rope he hands out for cigars. Call it off, ca n't you? Phyllis does not answer. She does n't even breathe. Her hand goes down on the horn button. She honks three times. DIETRICHSON'S VOICE What are you doing that for? What the - This is as far as his voice will ever get. It breaks off and dies down in a muffled groan. There are struggling noises and a dull sound of something breaking. Phyllis drives on and never turns her head. She stares straight in front of her. Her teeth are clenched.", "PARKING SPACE ADJOINING GLENDALE STATION - NIGHT The station is visible about sixty yards away. There is no parking attendant. Ten or twelve cars are parked diagonally, not crowded. The train is not in yet, but there is activity around the station. Passengers and their friends, redcaps and baggage men, news vendors, etc.. The Dietrichson sedan drives into the shot past CAMERA and parks in the foreground at the outer end of the line, several spaces from the next car, facing away from the CAMERA. Both front doors are open. Phyllis gets out and from the other side crutches emerge, and a man -LRB- seen entirely from behind, and apparently Dietrichson -RRB- climbs out awkwardly. While he is steadying himself on the ground with the crutches, Phyllis has taken out Dietrichson's suitcase and overcoat. She walks around the car and rolls up the right front window. She closes and locks the car door. She tries the right rear door and takes a last look into the dim interior of the car. Then she and the man walk slowly away from the car to the end of the station platform and along it toward the station building, Phyllis walks several steps ahead of the man. PHYLLIS & THE MAN - WALKING CAMERA FOLLOWING THEM, a little to one side, so that Phyllis is clearly seen but the man's face is not. MAN -LRB- In a subdued voice. -RRB- You handle the redcap and the conductor. PHYLLIS Do n't worry. MAN Keep them away from me as much as you can. I do n't want to be helped. PHYLLIS I said do n't worry, Walter. PHYLLIS & THE MAN, WALKING DOWN PLATFORM, CAMERA NOW PRECEDING THEM Only at this point is it quite clear that THE MAN IS NEFF. NEFF You start just as soon as the train leaves. At the dairy sign you turn off the highway onto the dirt road. From there it's exactly eight - tenths of a mile to the dump beside the tracks. Remember? PHYLLIS I remember everything. NEFF You'll be there a little ahead of the train. No speeding. You do n't want any cops stopping you - with him in the back. PHYLLIS Walter, we've been through all that so many times. NEFF When you turn off the highway, cut all your lights. I'm going to be back on the observation platform. I'll drop off as close to the spot as I can. Wait for the train to pass, then blink your lights twice. Phyllis nods. They go on. Over them is heard the noise of the train coming into the station and its lights are seen. GLENDALE STATION PLATFORM The train is just coming to a stop. The passengers move forward to the tracks. Phyllis, carrying the suitcase and overcoat, and Neff, still a little behind her, come TOWARDS THE CAMERA. A redcap sees them and runs up. He takes the suitcase out of Phyllis' hand. REDCAP San Francisco train, lady? Phyllis takes an envelope containing Dietrichson's ticket from the pocket of the overcoat. She reads from the envelope. PHYLLIS Car nine, section eleven. Just my husband going. REDCAP Car nine, section eleven. Yessum, this way please. Phyllis hands the overcoat to the redcap, who leads her and Neff towards car number nine. Neff still hangs back and keeps his head down, the way a man using crutches might naturally do.", "EXT. CAR #9: B-52: B-53 The pullman conductor and porter stand at the steps. The conductor is checking the tickets of passengers getting on. The redcap leads Phyllis and Neff into the SHOT. The conductor and porter see Neff on his crutches and move to help him. PHYLLIS It's all right, thanks. My husband does n't like to be helped. The redcap goes up the steps into the car. Neff laboriously swings himself up onto the box and from there up on the steps, keeping his head down. Meantime, Phyllis is holding the attention of the conductor and porter by showing them the ticket. CONDUCTOR Car nine, section eleven. The gentleman only. Thank you. Phyllis nods and takes the ticket back. Neff has reached the top of the steps. She goes up after him and gives him the ticket. They are now close together. PHYLLIS Goodbye, honey. Take awful good care of yourself with that leg. NEFF Sure, I will. Just you take it easy going home. PHYLLIS I'll miss you, honey. She kisses him. There are shouts of `` ALL ABOARD''. The redcap comes from inside the car. REDCAP Section eleven, suh. Phyllis takes a quarter from her bag and gives it to the redcap. PORTER -LRB- Shouting. -RRB- All aboard! Redcap descends. Phyllis kisses Neff again quickly. PHYLLIS Good luck, honey. She runs down the steps. The porter picks up the box. He and the conductor get on board the train. Phyllis stands there waving goodbye as the train starts moving, and the porter begins to close the car door. Phyllis turns and walks out of the shot in the direction of the parked car.", "INT. PLATFORM CAR NUMBER NINE - MOVING TRAIN - (NIGHT) DIM LIGHT Neff and the Porter. The conductor is going on into the car. Neff is half turned away from the porter. NEFF Can you make up my berth right away? PORTER Yes, sir. NEFF I'm going back to the observation car for a smoke. PORTER This way, sir. Three cars back. He holds the vestibule door open. Neff hobbles through.", "INT. PULLMAN CAR - DIM Most of the berths are made up. As Neff hobbles along, another porter and some passengers make way for the crippled man solicitously.", "PLATFORM BETWEEN TWO CARS - VERY DIM The train conductor meets Neff and opens the door for him. Neff hobbles on through.", "INT. PARLOR CAR - MOVING TRAIN Four or five passengers are reading or writing. As Neff comes through on his crutches they pull in their feet to make room for him. One old lady, seeing that he is headed for the observation platform, opens the door for him. He thanks her with a nod and hobbles through. OBSERVATION PLATFORM Dark except for a little light coming from inside the parlor car. The train is going at about fifteen miles an hour between Glendale and Burbank. Neff has come out and hobbled to the railing. He stands looking back along the rails. SUDDENLY A MAN'S VOICE speaks from behind him. MAN'S VOICE Can I pull a chair out for you? Neff looks around. He sees a man sitting in the corner smoking a hand - rolled cigarette. He is about fifty - five years old, with white hair, and a broad - brimmed Stetson hat. He looks like a small town lawyer or maybe a mining man. Neff does not like the man's presence there very much. He turns to him just enough to answer. NEFF No thanks, I'd rather stand. MAN You going far? NEFF Palo Alto. MAN My name's Jackson. I'm going all the way to Medford. Medford, Oregon. Had a broken arm myself once. NEFF Uh - huh. JACKSON That darn cast sure itches something fierce, do n't it? I thought I'd go crazy with mine. Neff stands silent. His mind is feverishly thinking of how to get rid of Jackson. JACKSON Palo Alto's a nice little town. You a Stanford man? NEFF Used to be. He starts patting his pockets as if looking for something. JACKSON I bet you left something behind. I always do. NEFF My cigar case. Must have left it in my overcoat back in the section. Jackson takes out a small bag of tobacco and a packet of cigarette papers. JACKSON Care to roll yourself a cigarette, Mr. -? NEFF Dietrichson. Thanks. I really prefer cigars. -LRB- Looking around. -RRB- Maybe the porter - JACKSON I could get your cigars for you. Be glad to, Mr. Dietrichson. NEFF That's darn nice of you. It's car nine, section eleven. If you're sure it's not too much trouble. JACKSON Car nine, section eleven. A pleasure. He rises and exits into the parlor car. Neff turns slowly and watches Jackson go back through the car. Then he moves to one side of the platform and looks ahead along the track to orientate himself. He gives one last glance back into the parlor car to make sure no one is watching him. He slips the crutches from under his arms and stands on both feet. He drops the crutches off the train onto the tracks, then quickly swings his body over the rail.", "EXT. MOVING OBSERVATION CAR - CAMERA FOLLOWING Neff is hanging onto the railing. He looks down, then lets go and drops to the right - of - way. THE CAMERA STOPS. The train recedes slowly into the night. Neff has fallen on the tracks. He picks himself up, rubs one knee and looks back along the line of the tracks and off to one side. DARK LANDSCAPE - RAILROAD TRACKS Close beyond the edge of the right - of - way, the silhouette of a dump shows up. Beside it looms the dark bulk of the Dietrichson sedan. The headlights blink twice and go out. NEFF He starts running towards the car. He runs a little awkwardly because of the improvised cast on his left foot. CAR IN THE DARK The front door opens and Phyllis steps out. She closes the door and looks in the direction of the tracks. The uneven steps of Neff running towards her are heard. She opens the back door of the car and leans in. She pulls the rug off the corpse -LRB- which is not visible -RRB- and stands looking into the car, unable to take her eyes off what she sees, while at the same time her hands mechanically begin to fold the rug. The running steps grow louder and Neff comes into the SHOT breathing hard. He reaches her. NEFF Okay. This has to go fast. Take his hat and pick up the crutches. Neff points back towards the tracks. He reaches into the car and begins to drag out the body by the armpits. Phyllis coolly reaches past him and takes the hat off the dead man's head. She turns to go. NEFF Hang on to that rug. I'll need it. Phyllis moves out of the shot carrying the hat and rug. NEFF He gets a stronger hold on the dead Dietrichson and drags him free of the car and towards the tracks. The corpse is not seen. PHYLLIS She has reached the point where one of the crutches lies. She picks it up and goes for the other crutch a short distance away. She carries both crutches, the hat and the rug towards Neff. NEFF He has reached the railroad tracks. The corpse is lying beside the tracks, face down. Phyllis comes up to Neff. He takes the crutches and the hat from her. He throws the crutches beside the corpse. He takes the hat from Phyllis and tosses it carelessly along the track. NEFF Let's go. Stay behind me. He takes the rug from her and they move back towards the car, Phyllis first, then Neff walking almost backwards, sweeping the ground over which the body was dragged with the rug as they go. THE CAR They reach it together. NEFF Get in. You drive. She gets in. Neff sweeps the ground after him as he goes around the car to get in beside her. He throws the rug into the back of the car.", "INT. CAR Phyllis is behind the wheel. Neff beside her is just closing the door. He props his wrapped foot against the dashboard and begins to tear off the adhesive tape while at the same time Phyllis presses the starter button. The starter grinds, but the motor does n't catch. She tries again. It still does n't catch. Neff looks at her. She tries a third time. The starter barely turns over. The battery is very low. Phyllis leans back. They stare at each other desperately. After a moment Neff bends forward slowly and turns the ignition key to the OFF position. He holds his left thumb poised over the starter button. There is a breathless moment. Then he presses the starter button with swift decision. The starter grinds with nerve - wracking sluggishness. Neff twists the ignition key to ON and instantly pulls the hand - throttle wide open. With a last feeble kick of the starter, the motor catches and races. He eases the throttle down and slides back into his place. They look at each other again. The tenseness of the moment still shows in their faces. NEFF Let's go, baby. Phyllis releases the hand brake and puts the car in reverse. Neff is again busy unwrapping the tape from his leg. The car moves. DARK LANDSCAPE - WITH DUMP The car, with the headlights out, backs up, swings around and moves off along the dirt road the way it came.", "INT. SEDAN - DRIVING ALONG HIGHWAY IN TRAFFIC Phyllis and Neff facing towards CAMERA. Neff is bent over, peeling the towel and plaster off his foot, which is out of shot. Phyllis is calm, almost relaxed. Neff straightens up. They are talking to each other. Their lips are seen moving but what they say is not heard. They stop talking. Phyllis stares straight ahead. Neff is pulling adhesive tape off the wrapped towel that was on his foot. He folds the adhesive into a tight ball, rolls the towel up, puts both into his pockets.", "DARK STREET NEAR NEFF'S APT. HOUSE The sedan drives into the shot and stops without pulling over to the curb. NEFF'S VOICE -LRB- Cont'd. -RRB- She dropped me a block from my apartment house. The car door opens. Neff starts to get out. PHYLLIS Walter. Neff turns back to her. PHYLLIS What's the matter, Walter. Are n't you going to kiss me? NEFF Sure, I'm going to kiss you. Phyllis bends towards him and puts her arms around him. PHYLLIS It's straight down the line, is n't it? Phyllis kisses him. In the kiss he is passive. PHYLLIS I love you, Walter. NEFF I love you, baby.", "FIRE STAIRS - (NIGHT) Neff going up. NEFF'S VOICE It was two minutes past eleven as I went up the fire stairs again. Nobody saw me this time either.", "B-73 INSERTS Telephone bell box and the door bell. The cards are still in position. Neff's hand takes them out. NEFF'S VOICE -LRB- Cont'd. -RRB- In the apartment I checked the bells. The cards had n't moved. No calls. No visitors.", "LIVING ROOM - NEFF'S APT. NIGHT - ELECTRIC LIGHTS ON Neff comes from the bedroom, wearing the light grey suit he wore before the murder, only with out a tie. He buttons his jacket, looks around the room, and opens the corridor door. NEFF'S VOICE I changed the blue suit. There was one last thing to do. I wanted the garage man to see me again.", "BASEMENT GARAGE - (NIGHT) Fifteen or twenty cars are parked now. Charlie, the attendant has washed Neff's car and is now polishing the glass and metal work. Neff comes from the elevator. Charlie sees him. He straightens up. CHARLIE You going to need it after all, Mr. Neff? I'm about through. NEFF It's okay, Charlie. Just walking down to the drug store for something to eat. Been working upstairs all evening. My stomach's getting sore at me. He walks up the ramp towards the garage entrance. STREET OUTSIDE APT. HOUSE - -LRB- NIGHT -RRB- - SHOOTING TOWARDS GARAGE ENTRANCE Neff comes out at the top of the ramp and starts to walk down the street, not too fast. CAMERA PRECEDES HIM. He walks about ten or fifteen yards. At first his steps sound hard and distinct on the sidewalk and echo in the deserted street. But slowly, as he goes on, they fade into utter silence. He walks a few feet without sound, then becomes aware of the silence. He stops rigidly and looks back. CAMERA STOPS WITH HIM. He stands like that for a moment, then turns toward the CAMERA again. There is a look of horror on his face now. He walks on, CAMERA AHEAD OF HIM again. Still his steps make no sound. NEFF'S VOICE That was all there was to it. Nothing had slipped, nothing had been overlooked, there was nothing to give us away. And yet, Keyes, as I was walking down the street to the drug store, suddenly it came over me that everything would go wrong. It sounds crazy, Keyes, but it's true, so help me : I could n't hear my own footsteps. It was the walk of a dead man. NEFF'S OFFICE - NIGHT Neff sits before the dictaphone. There are four cylinders on end on the desk next to him. He gets up from the swivel chair with great effort and stands a moment unsteadily. The wound in his shoulder is paining him. He is very weak as he slowly crosses to the water cooler. He takes the blood stained handkerchief from inside his shirt and soaks it with fresh water. The office door opens behind him. He turns, hiding the handkerchief behind his back. In the doorway stands the colored man who has been cleaning up downstairs. He is carrying his big trash box by a rope handle. COLORED MAN Did n't know anybody was here, Mr. Neff. We ai n't cleaned your office yet. NEFF Let it go tonight. I'm busy. COLORED MAN Whatever you say, Mr. Neff. He closes the door slowly, staring at Neff with an uneasy expression. Neff puts the soaked handkerchief back on his wounded shoulder, then walks heavily over to his swivel chair and lowers himself into it. He takes the dictaphone horn and speaks into it again. NEFF That was the longest night I ever lived through, Keyes, and the next day was worse, when the story broke in the papers, and they were talking about it at the office, and the day after that when you started digging into it. I kept my hands in my pockets because I thought they were shaking, and I put on dark glasses so people could n't see my eyes, and then I took them off again so people would n't get to wondering why I wore them. I was trying to hold myself together, but I could feel my nerves pulling me to pieces.", "INSURANCE OFFICE - TWELFTH FLOOR - DAY Neff comes through the reception room doors with his hat on and his briefcase under his arm. He walks towards his office, but half way there he runs into Keyes. Keyes is wearing his vest and hat, no coat. He is carrying a file of papers and smoking a cigar. KEYES Come on, Walter. The big boss wants to see us. NEFF Okay. He turns and walks beside Keyes, CAMERA AHEAD of them NEFF That Dietrichson case? KEYES Must be. NEFF Anything wrong? KEYES The guy's dead, we had him insured and it's going to cost us money. That's always wrong. He stops by a majolica jar full of sand and takes a pencil from his vest. He stands over the jar extinguishing his cigar carefully so as not to damage it. NEFF What have you got so far? KEYES Autopsy report. No heart failure, no apoplexy, no predisposing medical cause of any kind. He died of a broken neck. NEFF When is the inquest? KEYES They had it this morning. His wife and daughter made the identification. The train people and some passengers told how he went through to the observation car. It was all over in forty - five minutes. Verdict, accidental death. Keyes puts the half - smoked cigar into his vest pocket with the pencil. They move on. NEFF What do the police figure? KEYES That he got tangled up in his crutches and fell off the train. They're satisfied. It's not their dough. They stop at a door lettered in embossed chromium letters : EDWARD S. NORTON, JR.. PRESIDENT. Keyes opens the door. They go in.", "INT. RECEPTION ROOM - MR. NORTON'S OFFICE A secretary sitting behind a desk. As Keyes and Neff enter, the door to Norton's private office is opened. From inside, Mr. Norton is letting out three legal looking gentlemen. Norton is about forty - five, very well groomed, rather pompous in manner. NORTON -LRB- To the men who are leaving. -RRB- I believe the legal position is now clear, gentlemen. Please stand by. I may need you later. He sees Keyes and Neff. NORTON Come in, Mr. Keyes. You too, Mr. Neff. Neff has put down his hat and briefcase. He and Keyes pass the legal looking men and follow Norton into his office.", "INT. NORTON'S OFFICE Naturally it is the best office in the building ; modern but not modernistic, spacious, very well furnished ; flowers, smoking stands, easy chairs, etc.. Norton has gone behind his desk. Keyes has come in, and Neff after him closes the door quietly. Norton looks disapprovingly at Keyes' shirt sleeves. NORTON You find this an uncomfortably warm day Mr. Keyes? Keyes takes his hat off but holds it in his hands. KEYES Sorry, Mr. Norton. I did n't know this was formal. Norton smiles frostily. NORTON Sit down, gentlemen. -LRB- To Keyes. -RRB- Any new developments? Keyes and Neff sit down, Norton remains standing. KEYES I just talked to this Jackson long distance. Up in Medford, Oregon. NORTON Who's Jackson? KEYES The last guy that saw Dietrichson alive. They were out on the observation platform together talking. Dietrichson wanted a cigar and Jackson went to get Dietrichson's cigar case for him. When he came back to the observation platform, no Dietrichson. Jackson did n't think anything was wrong until a wire caught up with the train at Santa Barbara. They had found Dietrichson's body on the tracks near Burbank. NORTON Very interesting, about the cigar case. He walks up and down behind his desk thinking hard. NORTON Anything else? KEYES Not much. Dietrichson's secretary says she did n't know anything about the policy. There is a daughter, but all she remembers is Neff talking to her father about accident insurance at their house one night. NEFF I could n't sell him at first. Mrs. Dietrichson opposed it. He told me he'd think it over. Later on I went down to the oil fields and closed him. He signed the application and gave me his check. NORTON -LRB- Dripping with sarcasm. -RRB- A fine piece of salesmanship that was, Mr. Neff. KEYES There's no sense in pushing Neff around. He's got the best sales record in the office. Are your salesmen supposed to know that the customer is going to fall off a train? NORTON Fall off a train? Are we sure Dietrichson fell off the train? There is a charged pause. KEYES I do n't get it. NORTON You do n't, Mr. Keyes? Then what do you think of this case? This policy might cost us a great deal of money. As you know, it contains a double indemnity clause. Just what is your opinion? KEYES No opinion at all. NORTON Not even a hunch? One of those interesting little hunches of yours? KEYES Nope. Not even a hunch. NORTON I'm surprised, Mr. Keyes. I've formed a very definite opinion. I think I know - in fact I know I know what happened to Dietrichson. KEYES You know you know what? NORTON I know it was not an accident. He looks from Keyes to Neff and back to Keyes. NORTON What do you say to that? KEYES Me? You've got the ball. Let's see you run with it. NORTON There's a widespread feeling that just because a man has a large office - The dictograph on his desk buzzes. He reaches over and depresses a key and puts the earpiece to his ear. NORTON -LRB- Into dictograph. -RRB- Yes? Have her come in, please. He replaces the earpiece. He turns back to Keyes and Neff. NORTON - that just because a man has a large office he must be an idiot. I'm having a visitor, if you do n't mind. Keyes and Neff start to get up. NORTON No, no. I want you to stay and watch me handle this. The secretary has opened the door. SECRETARY Mrs. Dietrichson. Neff stands staring at the door. He relaxes with an obvious effort of will. Phyllis comes in. She wears a gray tailored suit, small black hat with a veil, black gloves, and carries a black bag. The secretary closes the door behind her. Mr. Norton goes to meet her. NORTON Thank you very much for coming, Mrs. Dietrichson. I assure you I appreciate it. He turns a little towards Keyes. NORTON This is Mr. Keyes. KEYES How do you do. PHYLLIS How do you do. NORTON And Mr. Neff. PHYLLIS I've met Mr. Neff. How do you do. Norton has placed a chair. Phyllis sits. Norton goes behind his desk. NORTON Mrs. Dietrichson, I assure you of our sympathy in your bereavement. I hesitated before asking you to come here so soon after your loss. Phyllis nods silently. NORTON But now that you're here I hope you wo n't mind if I plunge straight into business. You know why we asked you to come, do n't you? PHYLLIS No. All I know is that your secretary made it sound very urgent. Keyes sits quietly in his chair with his legs crossed. He has hung his hat on his foot and thrust his thumbs in the armholes of his vest. He looks a little bored. Neff, behind him, stands leaning against the false mantel, completely dead - pan. NORTON Your husband had an accident policy with this company. Evidently you do n't know that, Mrs. Dietrichson. PHYLLIS No. I remember some talk at the house - She looks towards Neff. PHYLLIS - but he did n't seem to want it. NEFF He took it out a few days later, Mrs. Dietrichson. PHYLLIS I see. NORTON You'll probably find the policy among his personal effects. PHYLLIS His safe deposit box has n't been opened yet. It seems a tax examiner has to be present. NORTON Please, Mrs. Dietrichson, I do n't want you to think you are being subjected to any questioning. But there are a few things we should like to know. PHYLLIS What sort of things? NORTON We have the report of the coroner's inquest. Accidental death. We are not entirely satisfied. In fact we are not satisfied at all. Phyllis looks at him coolly. Keyes looks vaguely interested. Neff is staring straight at Phyllis. NORTON Frankly, Mrs. Dietrichson, we suspect suicide. Phyllis does n't bat an eyelash. NORTON I'm sorry. Would you like a glass of water? PHYLLIS Please. NORTON Mr. Neff. He indicates a thermos on a stand near Neff. Neff pours a glass of water and carries it over to Phyllis. She has lifted her veil a little. She takes the glass from his hand. PHYLLIS Thank you. Their eyes meet for a fraction of a second. NORTON Had your husband been moody or depressed lately, Mrs. Dietrichson? Did he seem to have financial worries, for instance? PHYLLIS He was perfectly all right and I do n't know of any financial worries. NORTON There must have been something, Mrs. Dietrichson. Let us examine this so - called accident. First, your husband takes out this policy in absolute secrecy. Why? Because he does n't want his family to suspect what he intends to do. PHYLLIS Do what? NORTON Commit suicide. Next, he goes on this trip entirely alone. He has to be alone. He hobbles all the way out to the observation platform, very unlikely with his leg in a cast, unless he has a very strong reason. Once there, he finds he is not alone. There is a man there. What was his name, Keyes? Norton flips his fingers impatiently at Keyes who does n't even bother to look up. KEYES His name was Jackson. Probably still is. NORTON Jackson. So your husband gets rid of this Jackson with some flimsy excuse about cigars. And then he is alone. And then he does it. He jumps. Suicide. In which case the company is not liable. -LRB- Pause. -RRB- You know that, of course. We could go to court - PHYLLIS I do n't know anything. In fact I do n't know why I came here. She makes as if to rise indignantly. NORTON Just a moment, please. I said we could go to court. I did n't say we want to. Not only is it against our practice, but it would involve a great deal of expense, a lot of lawyers, a lot of time, perhaps years. Phyllis rises coldly. NORTON So what I want to suggest is a compromise on both sides. A settlement for a certain sum, a part of the policy value - PHYLLIS Do n't bother, Mr. Norton. When I came in here I had no idea you owed me any money. You told me you did. Then you told me you did n't. Now you tell me you want to pay me a part of it, whatever it is. You want to bargain with me, at a time like this. I do n't like your insinuations about my husband, Mr. Norton, and I do n't like your methods. In fact I do n't like you, Mr. Norton. Goodbye, gentlemen. She turns and walks out. The door closes after her. There is a pregnant pause. Keyes straightens up in his chair. KEYES Nice going, Mr. Norton. You sure carried that ball. Norton pours himself a glass of water and stands holding it. KEYES Only you fumbled on the goal line. Then you heaved an illegal forward pass and got thrown for a forty - yard loss. Now you ca n't pick yourself up because you have n't got a leg to stand on. NORTON I have n't eh? Let her claim. Let her sue. We can prove it was suicide. Keyes stands up. KEYES Can we? Mr. Norton, the first thing that hit me was that suicide angle. Only I dropped it in the wastepaper basket just three seconds later. You ought to take a look at the statistics on suicide sometime. You might learn a little something about the insurance business. NORTON I was raised in the insurance business, Mr. Keyes. KEYES Yeah. In the front office. Come on, you never read an actuarial table in your life. I've got ten volumes on suicide alone. Suicide by race, by color, by occupation, by sex, by seasons of the year, by time of day. Suicide, how committed : by poisons, by fire - arms, by drowning, by leaps. Suicide by poison, subdivided by types of poison, such as corrosive, irritant, systemic, gaseous, narcotic, alkaloid, protein, and so forth. Suicide by leaps, subdivided by leaps from high places, under wheels of trains, under wheels of trucks, under the feet of horses, from steamboats. But Mr. Norton, of all the cases on record there's not one single case of suicide by leap from the rear end of a moving train. And do you know how fast that train was going at the point where the body was found? Fifteen miles an hour. Now how could anybody jump off a slow moving train like that with any kind of expectation that he would kill himself? No soap, Mr. Norton. We're sunk, and we're going to pay through the nose, and you know it. May I have this? Keyes' throat is dry after the long speech. He grabs the glass of water out of Norton's hand and drains it in one big gulp. Norton is watching him almost stupefied. Neff stands with the shadow of a smile on his face. Keyes puts the glass down noisily on Norton's desk. KEYES Come on, Walter. Norton does n't move or speak. Keyes puts his hat on and crosses towards the door, Neff after him. With the doorknob in his hand Keyes turns back to Norton with a glance down at his own shirt sleeves. KEYES Next time I'll rent a tuxedo. They go out.", "NEFF - AT DICTAPHONE - (NIGHT) There is a tired grin on his face as he talks into the horn. NEFF I could have hugged you right then and there, Keyes, you and your statistics. You were the only one we were really scared of, and instead you were almost playing on our team.", "NEFF'S APARTMENT - EVENING - ALMOST DARK IN THE ROOM The corridor door opens letting light in. Neff enters with his hat on and his briefcase under his arm. He switches the lights on, closes the door, puts the lights on, closes the door, puts the key in his pocket. At this moment the telephone rings. He picks up the phone. NEFF'S VOICE That evening when I got home my nerves had eased off. I could feel the ground under my feet again, and it looked like easy going from there on it. NEFF Hello. Hello, baby. Sure, everything is fine. You were wonderful in Norton's office.", "INT. TELEPHONE BOOTH IN A DRUG STORE Phyllis is on the phone. She is not dressed as in Norton's office. PHYLLIS I felt so funny. I wanted to look at you all the time. NEFF ON TELEPHONE IN HIS APARTMENT NEFF How do you think I felt? Where are you, baby? PHYLLIS ON PHONE PHYLLIS At the drug store. Just a block away. Can I come up? NEFF'S APARTMENT - -LRB- NIGHT -RRB- - NEFF ON PHONE NEFF Okay. But be careful. Do n't let anybody see you. He hangs up, takes off his hat and drops hat and briefcase on the davenport. He looks around the room and crosses to lower the venetian blinds and draw the curtains. He gathers up the morning paper which is lying untidily on the floor and puts it in the waste - paper basket. The door bell rings. Neff stops in sudden alarm. It ca n't be Phyllis. The time is too short. For a second he stands there motionless, then crosses to the door and opens it. In the open door stands Keyes. NEFF Hello, Keyes. Keyes walks past him into the room. His hands are clasped behind his back. There is a strange, absent - minded look in his eyes. Neff closes the door without taking his eyes off Keyes. NEFF What's on your mind? Keyes stops in the middle of the room and turns. KEYES That broken leg. The guy broke his leg. NEFF What are you talking about? KEYES Talking about Dietrichson. He had accident insurance, did n't he? Then he broke his leg, did n't he? NEFF So what? KEYES And he did n't put in a claim. Why did n't he put in a claim? Why? NEFF What the dickens are you driving at? KEYES Walter. There's something wrong. I ate dinner two hours ago. It stuck half way. He prods his stomach with his thumb. KEYES The little man is acting up again. Because there's something wrong with that Dietrichson case. NEFF Because he did n't put in a claim? Maybe he just did n't have time. KEYES Oh maybe he just did n't know he was insured. He has stopped in front of Neff. They look at each other for a tense moment. Neff hardly breathes. Keyes shakes his head suddenly. KEYES No. That could n't be it. You delivered the policy to him personally, did n't you, Walter? And you got his check. NEFF -LRB- Stiff - lipped, but his voice is as well under control as he can manage. -RRB- Sure, I did. Keyes prods his stomach again. KEYES Got any bicarbonate of soda? NEFF No I have n't. Keyes resumes his pacing. KEYES Listen, Walter. I've been living with this little man for twenty - six years. He's never failed me yet. There's got to be something wrong. NEFF Maybe Norton was right. Maybe it was suicide, Keyes. KEYES No. Not suicide. -LRB- Pause. -RRB- But not accident either. NEFF What else? There is another longer pause, agonizing for Neff. Finally Keyes continues : KEYES Look. A man takes out an accident policy that is worth a hundred thousand dollars if he is killed on a train. Then, two weeks later, he is killed on a train. And not in a train accident, mind you, but falling off some silly observation car. Do you know what the mathematical probability of that is, Walter? One out of I do n't know how many billions. And add to that the broken leg. It just ca n't be the way it looks, Walter. Something has been worked on us. NEFF Such as what? Keyes does n't answer. He goes on pacing up and down. Finally Neff ca n't stand the silence any longer. NEFF Murder? KEYES -LRB- Prods stomach again. -RRB- Do n't you have any peppermint or anything? NEFF I'm sorry. -LRB- Pause. -RRB- Who do you suspect? KEYES Maybe I like to make things easy for myself. But I always tend to suspect the beneficiary. NEFF The wife? KEYES Yeah. That wide - eyed dame that did n't know anything about anything. NEFF You're crazy, Keyes. She was n't even on the train. KEYES I know she was n't, Walter. I do n't claim to know how it was worked, or who worked it, but I know that it was worked. He crosses to the corridor door. KEYES I've got to get to a drug store. It feels like a hunk of concrete inside me. He puts his hand on the knob to open the door. CORRIDOR - APARTMENT HOUSE - NIGHT - LIGHTS ON The hallway is empty except for Phyllis who has been standing close to the door of Neff's apartment, listening. The door has just started to open. Phyllis moves away quickly and flattens herself against the wall behind the opening door. Keyes is coming out. KEYES Good night, Walter. Neff, behind him, looks anxiously down the hallway for Phyllis. Suddenly his eye catches a glimpse of her through the crack of the partly opened door. He pushes the door wide so as to hide her from Keyes. NEFF Good night, Keyes. KEYES See you at the office in the morning. He has reached the elevator. He pushes the call button and turns. KEYES But I'd like to move in on her right now, tonight, if it was n't for Norton and his stripe - pants ideas about company policy. I'd have the cops after her so quick her head would spin. They'd put her through the wringer, and, brother, what they would squeeze out. NEFF Only you have n't got a single thing to go on, Keyes. The elevator has come up and stopped. KEYES Not too much. Twenty - six years experience, all the percentage there is, and this lump of concrete in my stomach. He pulls back the elevator door and turns to Neff with one last glance of annoyance. KEYES -LRB- Almost angrily. -RRB- No bicarbonate of soda. Keyes gets into the elevator. The door closes. The elevator goes down. Neff stands numb, looking at the spot where Keyes was last visible. Without moving his eyes he pulls the door around towards him with his left hand. Phyllis slowly comes out. Neff motions quickly to her to go into the apartment. She crosses in front of him and enters. He steps in backwards after her.", "INT. NEFF'S APARTMENT Phyllis has come a few steps into the room. Neff, backing in after her, closes the door from inside and turns slowly. They look at each other for a long moment in complete silence. PHYLLIS How much does he know? NEFF It's not what he knows. It's those stinking hunches of his. PHYLLIS But he ca n't prove anything, can he? NEFF Not if we're careful. Not if we do n't see each other for a while. PHYLLIS For how long a while? She moves toward him but he does not respond. NEFF Until all this dies down. You do n't know Keyes the way I do. Once he gets his teeth into something he wo n't let go. He'll investigate you. He'll have you shadowed. He'll watch you every minute from now on. Are you afraid, baby? PHYLLIS Yes, I'm afraid. But not of Keyes. I'm afraid of us. We're not the same any more. We did it so we could be together, but instead of that it's pulling us apart. Is n't it, Walter? NEFF What are you talking about? PHYLLIS And you do n't really care whether we see each other or not. NEFF Shut up, baby. He pulls her close and kisses her. INSURANCE OFFICE - TWELFTH FLOOR - ANTEROOM - -LRB- DAY -RRB- Two telephone operators and a receptionist are at work. Several visitors are waiting in chairs. Lola Dietrichson is one of them. She's wearing a simple black suit and hat, indicating mourning. Her fingers nervously pick at a handkerchief and her eyes are watching the elevator doors anxiously. -LRB- Now and then the telephone operators in the background are heard saying, `` PACIFIC ALL - RISK. GOOD AFTERNOON.'' -RRB- The elevator comes up and the doors open. Several people come out, among them Neff, carrying his briefcase. Lola sees him and stands up, and as he is about to pass through the anteroom without recognizing her she stops him. LOLA Hello, Mr. Neff. Neff looks at her a little startled. NEFF Hello. His voice hangs in the air. LOLA Lola Dietrichson. Do n't you remember me? NEFF -LRB- On his guard. -RRB- Yes. Of course. LOLA Could I talk to you, just for a few minutes? Somewhere where we can be alone? NEFF Sure. Come on into my office. He pushes the swing door open and holds it for her. As she passes in front of him his eyes narrow in uneasy speculation. TWELFTH FLOOR - BALCONY Neff comes up level with Lola and leads her towards his office, CAMERA WITH THEM. NEFF Is it something to do with - what happened? LOLA Yes, Mr. Neff. It's about my father's death. NEFF I'm terribly sorry, Miss Dietrichson. He opens the door of his office and holds it for her. She enters.", "INT. NEFF'S OFFICE - (DAY) Lou Schwartz, one of the other salesmen, is working at his desk. Lola enters, Neff after her. NEFF -LRB- To Schwartz. -RRB- Lou, do you mind if I use the office alone for a few minutes? SCHWARTZ It's all yours, Walter. He gets up and goes out. Lola has walked over to the window and is looking out so Schwartz wo n't stare at her. Neff places a chair beside his desk. NEFF Wo n't you sit down? At the sound of the closing door she turns and speaks with a catch in her voice. LOLA Mr. Neff, I ca n't help it, but I have such a strange feeling that there is something queer about my father's death. NEFF Queer? Queer in what way? LOLA I do n't know why I should be bothering you with my troubles, except that you knew my father and knew about the insurance he took out. And you were so nice to me that evening in your car. NEFF Sure. We got along fine, did n't we. He sits down. His face is grim and watchful. LOLA Look at me, Mr. Neff. I'm not crazy. I'm not hysterical. I'm not even crying. But I have the awful feeling that something is wrong, and I had the same feeling once before - when my mother died. NEFF When your mother died? LOLA We were up at Lake Arrowhead. That was six years ago. We had a cabin there. It was winter and very cold and my mother was very sick with pneumonia. She had a nurse with her. There were just the three of us in the cabin. One night I got up and went into my mother's room. She was delirious with fever. All the bed covers were on the floor and the windows were wide open. The nurse was n't in the room. I ran and covered my mother up as quickly as I could. Just then I heard a door open behind me. The nurse stood there. She did n't say a word, but there was a look in her eyes I'll never forget. Two days later my mother was dead. -LRB- Pause. -RRB- Do you know who that nurse was? Neff stares at her tensely. He knows only too well who the nurse was. NEFF No. Who? LOLA Phyllis. I tried to tell my father, but I was just a kid then and he would n't listen to me. Six months later she married him and I kind of talked myself out of the idea that she could have done anything like that. But now it's all back again, now that something has happened to my father, too. NEFF You're not making sense, Miss Dietrichson. Your father fell off a train. LOLA Yes, and two days before he fell off that train what was Phyllis doing? She was in her room in front of a mirror, with a black hat on, and she was pinning a black veil to it, as if she could n't wait to see how she would look in mourning. NEFF Look. You've had a pretty bad shock. Are n't you just imagining all this? LOLA I caught her eyes in the mirror, and they had that look in them they had before my mother died. That same look. NEFF You do n't like your step - mother, do you? Is n't it just because she is your step - mother? LOLA I loathe her. Because she did it. She did it for the money. Only you're not going to pay her, are you, Mr. Neff? She's not going to get away with it this time. I'm going to speak up. I'm going to tell everything I know. NEFF You'd better be careful, saying things like that. LOLA I'm not afraid. You'll see. She turns again to the window so he wo n't see that she is crying. Neff gets up and goes to her. LOLA I'm sorry. I did n't mean to act like this. NEFF All this that you've been telling me - who else have you told? LOLA No one. NEFF How about your step - mother? LOLA Of course not. I'm not living in the house any more. I moved out. NEFF And you did n't tell that boy - friend of yours? Zachetti. LOLA I'm not seeing him any more. We had a fight. NEFF Where are you living then? LOLA I got myself a little apartment in Hollywood. NEFF Four walls, and you just sit and look at them, huh? She turns from the window with a pathetic little nod. LOLA -LRB- Through her tears. -RRB- Yes, Mr. Neff.", "LA GOLONDRINA (NIGHT) In the foreground, Neff and Lola are having dinner. In the background the usual activity of Olvera Street - sidewalk peddlers, guitar players, etc.. NEFF'S VOICE So I took her to dinner that evening at a Mexican joint down on Olvera Street where nobody would see us. I wanted to cheer her up.", "INT. NEFF'S COUPE (DAY) Neff and Lola driving along the beach near Santa Monica. Neff is wearing a light summer suit, very much in contrast to Lola's mourning. Apparently she is telling him a story and now and then she laughs, but there is no sound. CAMERA MOVES PAST HER TO A : CLOSE SHOT OF NEFF behind the steering wheel. He is only half listening to Lola. His mind is full of other thoughts. NEFF'S VOICE Next day was Sunday and we went for a ride down to the beach. She had loosened up a bit and she was even laughing. I had to make sure she would n't tell that stuff about Phyllis to anybody else. It was dynamite, whether it was true or not. And I had no chance to talk to Phyllis. You were watching her like a hawk, Keyes. I could n't even phone her for fear you had the wires tapped. INSURANCE OFFICE - 12TH FLOOR - DAY Neff, with his hat on and no briefcase, is walking toward Keyes' office. As he comes up close to the door, he stops with a startled expression on his face. On a chair beside the door sits a familiar figure. He is Jackson, the man from the observation platform of the train. He is wearing his Stetson hat and smoking a cigar. He is studying something in the file folder. Neff recognizes him immediately but Jackson does not look up. Neff controls his expression and goes on to open the door to Keyes' office. NEFF'S VOICE Monday morning there was a note on my desk that you wanted to see me, Keyes. For a minute I wondered if it could be about Lola. It was worse. Outside your door was the last guy in the world I wanted to see.", "INT. KEYES' OFFICE Neff is just closing the door from the inside. Keyes, his coat off, is lying on his office couch, chewing on a cigar, as usual. KEYES Come in. Come in, Walter. I want to ask you something. After all the years we've known each other, do you mind if I make a rather blunt statement? NEFF About what? KEYES About me. Walter, I'm a very great man. This Dietrichson business. It's murder, and murders do n't come any neater. As fancy a piece of homicide as anybody ever ran into. Smart and tricky and almost perfect, but - Keyes bounces off the couch like a rubber ball. KEYES but, I think Papa has it all figured out, figured out and wrapped up in tissue paper with pink ribbons on it. NEFF I'm listening. Keyes levels a finger at him. KEYES You know what? That guy Dietrichson was never on the train. NEFF He was n't? KEYES No, he was n't, Walter. Look, you ca n't be sure of killing a man by throwing him off a train that's going fifteen miles an hour. The only way you can be sure is to kill him first and then throw his body on the tracks. That would mean either killing him on the train, or - and this is where it really gets fancy - you kill him somewhere else and put him on the tracks. Two possibilities, and I personally buy the second. NEFF You're way ahead of me, Keyes. KEYES Look, it was like this. They killed the guy - the wife and somebody else - and then the somebody else took the crutches and went on the train as Dietrichson, and then the somebody else jumped off, and then they put the body on the tracks where the train had passed. An impersonation, see. And a cinch to work. Because it was night, very few people were about, they had the crutches to stare at, and they never really looked at the man at all. NEFF It's fancy all right, Keyes. Maybe it's a little too fancy. KEYES Is it? I tell you it fits together like a watch. And now let's see what we have in the way of proof. The only guy that really got a good look at this supposed Dietrichson is sitting right outside my office. I took the trouble to bring him down here from Oregon. Let's see what he has to say. Keyes goes to the door and opens it. KEYES Come in, Mr. Jackson. Jackson enters with the file folder. JACKSON Yes sir, Mr. Keyes. These are fine cigars you smoke. He indicates the cigar he himself is smoking. KEYES Two for a quarter. JACKSON That's what I said. KEYES Never mind the cigar, Jackson. Did you study those photographs? What do you say? JACKSON Yes, indeed, I studied them thoroughly. Very thoroughly KEYES Well? Did you make up your mind? JACKSON Mr. Keyes, I'm a Medford man. Medford, Oregon. Up in Medford we take our time making up our minds - KEYES Well you're not in Medford now. I'm in a hurry. Let's have it. Jackson indicates the file folder he is holding. JACKSON Are these photographs of the late Mr. Dietrichson? KEYES Yes. JACKSON Then my answer is no. KEYES What do you mean no? JACKSON I mean this is not the man that was on the train. KEYES Will you swear to that? JACKSON I'm a Medford man. Medford, Oregon. And if I say it, I mean it, and if I mean it, of course I'll swear it. KEYES Thank you. Keyes turns to Neff. KEYES There you are, Walter. There's your proof. Keyes remembers he forgot to introduce Jackson. KEYES Oh, Mr. Jackson, this is Mr. Neff, one of our salesmen. JACKSON Please to meet you, Mr. Neff. Pleased indeed. NEFF How do you do. JACKSON Very fine, thank you. Never was better. KEYES Mr. Jackson, how would you describe the man you saw on that observation platform? JACKSON Well, I'm pretty sure he was a younger man, about ten or fifteen years younger than the man in these photographs. KEYES Dietrichson was about fifty, was n't he, Walter? NEFF Fifty - one, according to the policy. JACKSON The man I saw was nothing like fifty - one years old. Of course, it was pretty dark on that platform and, come to think of it, he tried to keep his back towards me. But I'm positive just the same. KEYES That's fine, Jackson. Now you understand this matter is strictly confidential. We may need you again down here in Los Angeles, if the case comes to court. JACKSON Any time you need me, I'm at your entire disposal, gentlemen. Expenses paid, of course. Keyes picks up the telephone on his desk and speaks into it. KEYES Get me Lubin, in the cashier's office. Meanwhile, Jackson crosses over to Neff and, during the ensuing dialogue between him and Neff, we hear Keyes' low voice on the phone in background. We do not hear what he says. JACKSON -LRB- To Neff. -RRB- Ever been in Medford, Mr. Neff? NEFF Never. JACKSON Wait a minute. Do you go trout fishing? Maybe I saw you up Klamath Falls way. NEFF Nope. Never fish. JACKSON Neff. Neff. I've got it! It's the name. There's a family of Neffs in Corvallis. NEFF No relation. JACKSON Let me see. This man's an automobile dealer in Corvallis. Very reputable man, too, I'm told. Keyes rejoins them at this point. KEYES All right, Mr. Jackson. Suppose you go down to the cashier's office - room twenty - seven on the eleventh floor. They'll take care of your expense account and your ticket for the train tonight. JACKSON Tonight? Tomorrow morning would suit me better. There's a very good osteopath down here I want to see before I leave. Keyes has opened the door for Jackson. KEYES Okay, Mr. Jackson. Just do n't put her on the expense account. Jackson does n't get it. JACKSON Goodbye, gentlemen. A pleasure. He goes out. KEYES There it is, Walter. It's beginning to come apart at the seams already. A murder's never perfect. It always comes apart sooner or later. And when two people are involved it's usually sooner. We know the Dietrichson dame is in it, and somebody else. Pretty soon we're going to know who that somebody else is. He'll show. He's got to show. Sometime, somewhere, they've got to meet. Their emotions are all kicked up. Whether it's love or hate does n't matter. They ca n't keep away from each other. They think it's twice as safe because there are two of them. But it's not twice as safe. It's ten times twice as dangerous. They've committed a murder and that's not like taking a trolley ride together where each one can get off at a different stop. They're stuck with each other. They've got to ride all the way to the end of the line. And it's a one - way trip, and the last stop is the cemetery. He puts a cigar in his mouth and starts tapping his pockets for matches. KEYES -LRB- Continued. -RRB- She put in her claim and I'm going to throw it right back at her. -LRB- Pats his pockets again. -RRB- Have you got one of those? Neff strikes a match for him. Keyes takes the match out of his hand and lights his cigar. KEYES Let her sue us if she dares. I'll be ready for her - and that somebody else. They'll be digging their own graves.", "TELEPHONE BOOTH IN JERRY'S MARKET - DAY Neff is in the booth dialing a number, and as she waits he looks around to make sure he is not watched. NEFF -LRB- Into phone. -RRB- Mrs. Dietrichson? This is Jerry's market. We just got in a shipment of that English soap you were asking about. Will you be coming by this morning? Thank you, Mrs. Dietrichson. Neff hangs up.", "EXT. JERRY'S MARKET - DAY The LaSalle stops in front of the market. Phyllis steps out and goes into the market, looking around. SHELVES IN THE REAR OF MARKET Neff is moving slowly along the shelves, outwardly calm but with his nerves on edge. From beyond him Phyllis approaches. She stops beside him, facing the same way, with a couple of feet separating them. PHYLLIS Hello, Walter. NEFF -LRB- In a harsh whisper. -RRB- Come closer. Phyllis moves close to him. PHYLLIS What's the matter? NEFF Everything's the matter. Keyes is rejecting your claim. He's sitting back with his mouth watering, waiting for you to sue. He wants you to sue. But you're not going to. PHYLLIS What's he got to stop me? NEFF He's got the goods. He's figured out how it was worked. He knows it was somebody else on the train. He's dug up a witness he thinks will prove it. PHYLLIS Prove it how? Listen, if he rejects that claim, I have to sue. NEFF Yeah? And then you're in court and a lot of other things are going to come up. Like, for instance, about you and the first Mrs. Dietrichson. Phyllis looks at him sharply, sideways. PHYLLIS What about me and the first Mrs. Dietrichson? NEFF The way she died. And about that black hat you were trying on - before you needed a black hat. A customer comes along the aisle toward them. They move apart. The customer passes. Phyllis draws close again. PHYLLIS Walter, Lola's been telling you some of her cockeyed stories. She's been seeing you. NEFF I've been seeing her, if you want to know. So she wo n't yell her head off about what she knows. PHYLLIS Yes, she's been putting on an act for you, crying all over your shoulder, that lying little - NEFF Keep her out of it. All I'm telling you is we're not going to sue. PHYLLIS Because you do n't want the money any more, even if you could get it? Because she's made you feel like a heel all of sudden. NEFF It is n't the money any more. It's our necks now. We're pulling out, understand. PHYLLIS Because of what Keyes can do? You're not fooling me, Walter. It's because of Lola. What you did to her father. You ca n't take it that she might find out some day. NEFF I said, leave her out of it. PHYLLIS Walter, it's me I'm talking about. I do n't want to be left out of it. NEFF Stop saying that. It's just that it has n't worked out the way we wanted. We ca n't have the money. We ca n't go through with it, that's all. PHYLLIS We have gone through with it, Walter. The tough part is all behind us. We just have to hold on now and not go soft inside, and stick together, close, the way we started out. Phyllis takes his arm, forgetting where she is. He pulls away. NEFF Watch it, will you. Someone's coming. One of the market help, pushing a small hand - truck loaded with packaged goods, comes along the aisle. He stops and begins to restock a shelf very close to Neff and Phyllis. They go off slowly in opposite directions. CAMERA PANS with Neff as he walks toward another shelf, one that stands away from the wall. Phyllis appears on the opposite side of the shelf and stops, facing toward him. They now continue their low - voiced dialogue through the piled - up merchandise. PHYLLIS I loved you, Walter. And I hated him. But I was n't going to do anything about it, not until I met you. It was you had the plan. I only wanted him dead. NEFF Yeah, and I was the one that fixed him so he was dead. Is that what you're telling me? Phyllis takes off her dark glasses for the first time and looks at him with cold, hard eyes. PHYLLIS Yes. And nobody's pulling out. We went into it together, and we're coming out at the end together. It's straight down the line for both of us, remember. Phyllis puts the glasses on again and goes. Over Neff's face, as he looks after her, comes the COMMENTARY. NEFF'S VOICE Yeah. I remembered all right. Just as I remembered what you had told me, Keyes, about that trolley car ride and how there was no way to get off - until the end of the line.", "INT. NEFF'S OFFICE - (NIGHT) Neff is dictating into the dictaphone. NEFF Yeah, I remembered it all right. Just as I remembered what you had told me, Keyes, about that trolley car ride, and how there was no way to get off until the end of the line, where the cemetery was. And I got to thinking what cemeteries are for. They're to put dead people in, I guess that was the first time I ever thought about Phyllis that way. Dead, I mean, and how things would be if she was dead. Because the way it was now she had me by the throat. She could hang me higher than a kite any day she felt like it. And there was nothing I could do, except hold my breath and watch that day come closer and closer, and maybe pray a little, if I still knew how to pray. I saw Lola three or four times that week. I guess it sounds crazy, Keyes, after what I had done, but it was only with her that I could relax and let go a little. Then one night we drove up into the hills above Hollywood Bowl.", "HOLLYWOOD HILLS (NIGHT) (TRANSPARENCY) Neff and Lola are climbing over a low hill in the foreground. The sky is starlit and music from the Bowl comes over the scene from below -LRB- Cesar Franck D Minor Symphony -RRB-. As he helps her climb up, CAMERA PANS with them and shows the expanse of the Bowl below, a packed audience, and the orchestra on the lighted shell. They sit down on the grass. Neff sits near her, not too close. It is very dark and they are silhouetted against the shell lights. Neff puts a cigarette in his mouth and strikes a match. The flame lights up Lola's face. Neff glances at her. She is crying. He lights his cigarette and blows out the match. A pause follows. NEFF Why are you crying? Lola does n't answer. NEFF You wo n't tell me? LOLA -LRB- In a choked voice. -RRB- Of course I will, Walter. I would n't tell anybody else but you. It's about Nino. NEFF Zachetti? What about him? LOLA They killed my father together. He and Phyllis. He helped her do it. I know he did. NEFF What makes you say that? LOLA I've been following him. He's at her house, night after night. It was Phyllis and him all the time. Maybe he was going with me just for a blind. And the night of the murder - NEFF You promised not to talk that way any more. LOLA - he was supposed to pick me up after a lecture at U.C.L.A. - but he never showed up. He said he was sick. Sick! He could n't show up, because the train was leaving with my father on it. She begins to cry again. LOLA Maybe I'm just crazy. Maybe it's all just in my mind. NEFF Sure, it's all in your mind. LOLA I only wish it was, Walter, because I still love him. Over Neff's face, as he listens to the music, comes the commentary.", "LOBBY OF PACIFIC BLDG. (DAY) NEFF'S VOICE Zachetti. That's funny. Phyllis and Zachetti. What was he doing up at her house? I could n't figure that one out I tried to make sense out of it and got nowhere. But the real brain - twister came the next day. You sprang it on me, Keyes, after office hours, when you caught me down in the lobby of the building. About 5:00 P.M. or a little later. A stream of office employees is coming out of an elevator ; a second elevator reaches the lobby and some more office employees come out, among them Neff, wearing his hat and carrying his briefcase. CAMERA PRECEDES HIM as he walks toward the entrance doors. He is stopped by Keyes' voice, off to one side. KEYES' VOICE Oh, Walter, just a minute. Neff stops and looks towards the cigar counter, as he moves towards him. Keyes is standing there buying cigars. He is stuffing them into his pockets. NEFF Hello, Keyes. KEYES Hang onto your hat, Walter. NEFF What for? KEYES Nothing much. The Dietrichson case just busted wide open. NEFF How do you mean? KEYES The guy showed. That's how. NEFF The somebody else? KEYES Yeah. The guy that did it with her. NEFF No kidding? KEYES She's filed suit against us, and it's okay by me. When we get into that courtroom I'll tear them apart, both of them. Come on - I'll buy you a martini. NEFF No thanks, Keyes. KEYES With two olives. NEFF I've got to get a shave and a shoeshine. I've got a date. KEYES Margie. I still bet she drinks from the bottle. He bites off the end of the cigar and puts the cigar into his mouth. He starts tapping his pockets for a match, as usual. Neff strikes a match for him. NEFF They give you matches when they sell you cigars, Keyes. All you have to do is ask for them. KEYES I do n't like them. They always explode in my pockets. So long, Walter. Keyes goes toward the street and OUT OF SCENE. Neff moves back into the lobby, CAMERA FOLLOWING HIM. As he reaches the elevator, he looks back over his shoulder, to make sure Keyes is gone, then steps into the empty elevator. NEFF'S VOICE You sure had me worried, Keyes. I did n't know if you were playing cat - and - mouse with me, whether you knew all along I was the somebody else. That's what I had to find out, and I thought I knew where to look. NEFF -LRB- To elevator operator. -RRB- Twelve.", "ENTRANCE - OFFICE. 12TH FLOOR RECEPTION ROOM (DAY) Neff comes out of the elevator. The receptionist is just tidying up her desk. She has her hat on and is preparing to leave. Neff passes on through the swinging doors to the twelfth floor balcony. NEFF'S VOICE Upstairs, the last of the people were just leaving. 12TH FLOOR BALCONY Neff enters from the reception room. A couple of belated employees are leaving for the day. Neff goes toward Keyes' office, looks around to make sure he is unobserved, enters. NEFF'S VOICE I made sure nobody saw me go into your office. KEYES' OFFICE -LRB- DAY -RRB- Neff has just come in. He goes over to Keyes' desk and searches the papers on it. He tries the desk drawers and finds them locked. His eye falls on the dictaphone on the stand beside the desk. A record is on it, the needle is about two - thirds of the way towards the end. He lifts the needle and sets it back to the beginning of the record, sets the switch to playback position. He lifts the arm off the bracket and starts the machine. Keyes' voice is heard coming from the horn : KEYES' VOICE -LRB- From Dictaphone. -RRB- Memo to Mr. Norton. Confidential. Dietrichson File. With regard to your proposal to put Walter Neff under surveillance, I disagree absolutely. I have investigated his movements on the night of the crime, and he is definitely placed in his apartment from 7:15 P.M. on. In addition to this, I have known Neff intimately for eleven years, and I personally vouch for him, without reservation. Neff stops the machine. He sits down slowly, still holding the horn. He is deeply moved. After a moment, he presses the switch again. KEYES' VOICE -LRB- From Dictaphone. -RRB-. Furthermore, no connection whatsoever has been established between Walter Neff and Mrs. Phyllis Dietrichson, whereas I am now able to report that such a connection has been established between her and another man. This man has been observed to visit the Dietrichson home on the night of July 9th, 10th, 11th, 12th and 13th. We have succeeded in identifying him as one Nino Zachetti, former medical student, aged twenty - eight, residing at Lilac Court Apartments 1228 1/2 N. La Brea Avenue. We have checked Zachetti's movements on the night of the crime and have found that they can not be accounted for. I am preparing a more detailed report for your consideration and it is my belief that we already have sufficient evidence against Zachetti and Mrs. Dietrichson to justify police action. I strongly urge that this whole matter be turned over to the office of the District Attorney. Respectfully, Barton Keyes. Neff sits, staring blankly at the wall. The cylinder goes on revolving, but no more voice comes - only the whir of the needle on the empty record. At last he remembers to replace the horn. He hangs it back on its hook. The machine stops. Neff gets up from the chair, walks slowly to the door and goes out. 12TH FLOOR, BALCONY Neff has just come out of Keyes' office. He walks slowly back towards the reception room entrance, then stands there looking out through the glass doors. All the employees have now left. Neff is entirely alone. He moves as if to go out, then stops rigidly as his face lights up with excitement of a sudden idea. He turns quickly and walks on to his own office and enters. NEFF'S OFFICE -LRB- DAY -RRB- Neff walks across to his desk, lifts the telephone and dials a number. -LRB- During the ensuing telephone conversation, only what he says is heard. The pauses indicate speeches at the other end of the line -RRB-. NEFF Phyllis? Walter. I've got to see you. Tonight. Yes, it has to be tonight. How's eleven o'clock? Do n't worry about Keyes. He's satisfied. Leave the door on the latch and put the lights out. No, nobody's watching the house. I told you Keyes is satisfied. It's just for the neighbors. That's what I said. Yeah. Eleven o'clock. Goodbye, baby. Neff hangs up and stands beside the desk with a grim expression on his face, takes a handkerchief out and wipes perspiration from his forehead and the palms of his hands. The gesture has a symbolic quality, as if he were trying to wipe away the murder. Over his face comes the commentary.", "HALL STAIRWAY OF DIETRICHSON HOME -LRB- NIGHT -RRB- The lights are turned on. Phyllis is coming down the stairs. She wears white lounging pajamas, and she is carrying something small and heavy concealed in a scarf in her right hand. She reaches the front door, opens it slightly, fixes the catch so that the door can be opened from outside. She switches off the porch light and the hall light. She moves towards the living room, where there is still light on. NEFF'S VOICE She was all set and waiting for me. It could have been something in my voice when I called her up that tipped her off. And it could have been that she had the idea already. And an idea was n't the only thing she had waiting for me. LIVING ROOM On the long table behind the davenport, one of the lamps is lit. The only other light in the room is a standing lamp beside the desk. A window toward the back is open, and through it comes the SOUNDS OF MUSIC, probably a neighboring radio. Phyllis enters and crosses to the table. She puts out the lamp, then moves over to the desk and puts out the lamp there. The room is filled with bright moonlight coming in at the windows. Phyllis crosses to the chair by the fireplace -LRB- the one she sat in the first time Neff came to the house -RRB-. She lifts the loose cushion and puts what was in the scarf behind it. As she withdraws the scarf, there is a brief glint of something metallic before she covers the hidden object with the cushion again. She turns to the low table in front of the davenport and takes a cigarette from the box. She takes a match and is about to strike it when, just then, she hears a car coming up the hill. She listens, motionless. The car stops. A car door is slammed. Calmly, Phyllis strikes the match and lights her cigarette. She drops the match casually into a tray, goes back to the chair, sits down and waits, quietly smoking. There are footsteps outside the house. Over the chair in which Phyllis is sitting, the hallway is visible through the arch. The front door opens. Neff comes in, he is silhouetted against the moonlight as he stands there. He closes the door again. PHYLLIS -LRB- In foreground. -RRB- In here, Walter. Neff comes through the arch and walks slowly towards her. NEFF Hello, baby. Anybody else in the house? PHYLLIS Nobody. Why? NEFF What's that music? PHYLLIS A radio up the street. Neff sits down on the arm of the davenport, close to her. NEFF Just like the first time I was here. We were talking about automobile insurance. Only you were thinking about murder. And I was thinking about that anklet. PHYLLIS And what are you thinking about now? NEFF I'm all through thinking. This is goodbye. PHYLLIS Goodbye? Where are you going? NEFF It's you that's going, baby. Not me. I'm getting off the trolley car right at this corner. PHYLLIS Suppose you stop being fancy. Let's have it, whatever it is. NEFF I have a friend who's got a funny theory. He says when two people commit a murder they're kind of on a trolley car, and one ca n't get off without the other. They're stuck with each other. They have to go on riding clear to the end of the line. And the last stop is the cemetery. PHYLLIS Maybe he's got something there. NEFF You bet he has, Two people are going to ride to the end of the line, all right. Only I'm not going to be one of them. I've got another guy to finish my ride for me. PHYLLIS So you've got it all arranged, Walter. NEFF You arranged it for me. I did n't have to do a thing. PHYLLIS Just who are you talking about? NEFF An acquaintance of yours. A Mr. Zachetti. Come on, baby, I just got into this because I knew a little something about insurance, did n't I? I was just a sucker. I'd have been brushed - off as soon as you got your hands on the money. PHYLLIS What are you talking about? NEFF Save it. I'm telling this. It's been you and that Zachetti guy all along, has n't it? PHYLLIS That's not true. NEFF It does n't make any difference whether it's true or not. The point is Keyes believes Zachetti is the guy he's been looking for. He'll have him in that gas chamber before he knows what happened to him. PHYLLIS And what's happening to me all this time? NEFF Do n't be silly. What do you expect to happen to you? You helped him do the murder, did n't you? That's what Keyes thinks. And what's good enough for Keyes is good enough for me. PHYLLIS Maybe it's not good enough for me. Walter. Maybe I do n't go for the idea. Maybe I'd rather talk. NEFF Sometimes people are where they ca n't talk. Under six feet of dirt, for instance. And if it was you, they'd just charge it up to Zachetti, would n't they. One more item on his account. Sure they would. That's just what they're going to do. Especially since he's coming here, tonight. Oh, in about fifteen minutes from now, baby. With the cops right behind him. It's all taken care of. PHYLLIS And that'd make everything lovely for you, would n't it? NEFF Right. And it's got to be done before that suit of yours comes to trial, and Lola gets a chance to sound off, and they trip you up on the stand, and you start to fold up and drag me down with you. PHYLLIS Listen, Walter. Maybe I had Zachetti here so they wo n't get a chance to trip me up. So we can get that money and be together. NEFF That's cute. Say it again. PHYLLIS He came here the first time just to ask where Lola was. I made him come back. I was working on him. He's crazy sort of guy, quick - tempered. I kept hammering into him that she was with another man, so he'd get into one of his jealous rages, and then I'd tell him where she was. And you know what he'd have done to her, do n't you, Walter. NEFF Yeah, and for once I believe you. Because it's just rotten enough. PHYLLIS We're both rotten, Walter. NEFF Only you're just a little more rotten. You're rotten clear through. You got me to take care of your husband, and then you got Zachetti to take care of Lola, and maybe take care of me too, and then somebody else would have come along to take care of Zachetti for you. That's the way you operate is n't it, baby. PHYLLIS Suppose it is, Walter. Is what you've cooked up for tonight any better? Neff gets up from the davenport. He listens to the music for a moment. NEFF I do n't like this music anymore. It's too close. Do you mind if I shut the window? Phyllis just stares at him. He goes quietly over to the window and shuts it and draws the curtain. Phyllis speaks to his back : PHYLLIS -LRB- Her voice low and urgent. -RRB- Walter! Neff turns, something changes in his face. There is the report of a gun. He stands motionless for a moment, then very slowly starts towards her. CAMERA IS SHOOTING OVER HIS SHOULDER at Phyllis as she stands with the gun in her hand. Neff stops after he has taken a few steps. NEFF What's the matter? Why do n't you shoot again? Maybe if I came a little closer? Neff takes a few more steps towards her and stops again. NEFF How's that. Do you think you can do it now? Phyllis is silent. She does n't shoot. Her expression is tortured. Neff goes on until he is close to her. Quietly he takes the gun out of her unresisting hand. NEFF Why did n't you shoot, baby? Phyllis puts her arms around him in complete surrender. NEFF Do n't tell me it's because you've been in love with me all this time. PHYLLIS No. I never loved you, Walter. Not you, or anybody else. I'm rotten to the heart. I used you, just as you said. That's all you ever meant to me - until a minute ago. I did n't think anything like that could ever happen to me. NEFF I'm sorry, baby. I'm not buying. PHYLLIS I'm not asking you to buy. Just hold me close. Neff draws her close to him. She reaches up to his face and kisses him on the lips. As she comes out of the kiss there is realization in her eyes that this is the final moment. NEFF Goodbye, baby. Out of the shot the gun explodes once, twice. Phyllis quivers in his arms. Her eyes fill with tears. Her head falls limp against his shoulder. Slowly he lifts her and carries her to the davenport. He lays her down on it carefully, almost tenderly. The moonlight coming in at the French doors shines on the anklet. He looks at it for the last time and slowly turns away. As he does so, he puts his hand inside his coat and it comes out with blood on it. Only then is it apparent that Phyllis' shot actually did hit him. He looks at the blood on his fingers with a dazed expression and quickly goes out of the room, the way he came.", "EXT. DIETRICHSON HOME - (NIGHT) Neff comes out of the house. He closes the front door with his right hand. His left arm hangs limp. He takes a few steps down the walk, then suddenly hears somebody approaching. He moves behind the palm tree near the walk. A man comes up the steps towards the front door - Zachetti. Just as he reaches the door, Neff calls to him. NEFF Hey you. Come here a minute. I said come here, Zachetti. Zachetti turns and approaches him slowly. NEFF The name is Neff. ZACHETTI Yeah? And I still do n't like it. What do you want? NEFF Look, kid, I want to give you a present. He takes some loose change out of his pocket and holds out a coin. NEFF Here's a nice new nickel. ZACHETTI What's the gag? NEFF Suppose you go back down the hill to a drug store and make a phone call. Neff starts to drop the nickel into Zachetti's handkerchief pocket. Zachetti knocks his hand away. ZACHETTI Keep your nickel and buy yourself an ice cream cone. NEFF The number is Granite 0386. Ask for Miss Dietrichson. The first name is Lola. ZACHETTI Lola? She is n't worth a nickel. And if I ever talk to her, it's not going to be over any telephone. NEFF Tough, are n't you? Take the nickel. Take it and call her. She wants you to. ZACHETTI Yeah? She does n't want any part of me. NEFF I know who told you that, and it's not true. She's in love with you. Always has been. Do n't ask me why. I could n't even guess. Zachetti just stares at him. Neff moves again to put the nickel into Zachetti's pocket. This time Zachetti allows him to do it. NEFF Now beat it. Granite 0386, I told you. He motions toward the street below. NEFF That way. Zachetti goes slowly past him. Neff grabs him and pushes him almost violently down the walk. Zachetti goes out of shot. The sound of his steps dies away as Neff looks after him. Then, far off in the distance, the SIREN OF A POLICE CAR is heard. Neff moves off through the shrubbery toward the side of the house where he parked his car.", "NEFF'S OFFICE - (NIGHT) The desk lamp is still lighted. Outside the windows, the dawn is slowly breaking. Neff is still clutching the horn of the dictaphone. There are eight or nine used cylinders on the desk beside him. A widening stain of blood shows on the left shoulder of his gray jacket. He is very weak by now, and his voice holds a note of utter exhaustion. NEFF It's almost four - thirty now, Keyes. It's cold. I wonder if she's still lying there alone in that house, or whether they've found her by now. I wonder a lot of things, but they do n't matter any more, except I want to ask you to do me a favor. I want you to be the one to tell Lola, kind of gently, before it breaks wide open. Yes, and I'd like you to look after her and that guy Zachetti, so he does n't get pushed around too much. Because. Suddenly he stops his dictation with an instinctive feeling that he is not alone in the room. As he turns in his chair the CAMERA PULLS BACK slowly. The office door is wide open. Keyes is standing a few steps inside it. Behind him, on the balcony outside, stands the night watchman and the colored janitor, peering curiously into the room over Keyes' shoulder. Slowly, and without taking his eyes off Neff's face, Keyes reaches back and pushes the door shut. Neff hangs up the dictaphone horn. He looks at Keyes with a faint, tired grin and speaks very slowly. NEFF Hello, Keyes. Keyes moves towards him a few steps and stands without answering. NEFF Up pretty early, are n't you? I always wondered what time you got down to work. Keyes, staring at him, still does not answer. NEFF Or did your little man pull you out of bed? KEYES The janitor did. Seems you leaked a little blood on the way in here. NEFF Would n't be surprised. Neff makes a motion indicating the used cylinders standing on the desk. NEFF I wanted to straighten out that Dietrichson story for you. KEYES So I gather. NEFF How long have you been standing there? KEYES Long enough. NEFF Kind of a crazy story with a crazy twist to it. One you did n't quite figure out. KEYES You ca n't figure them all, Walter. NEFF That's right. You ca n't, can you? And now I suppose I get the big speech, the one with all the two - dollar words in it. Let's have it, Keyes. KEYES You're all washed up, Walter. NEFF Thanks, Keyes. That was short anyway. They stare at each other for a long moment, then, with intense effort Neff gets up on his feet and stands there swaying a little. His face is covered with sweat. His shoulder is bleeding. He is on the verge of collapse. KEYES Walter, I'm going to call a doctor. NEFF -LRB- Bitterly. -RRB- What for? So they can patch me up? So they can nurse me along till I'm back on my feet? So I can walk under my own power into that gas chamber up in San Quentin? Is that it, Keyes? KEYES Something like that, Walter. NEFF Well, I've got a different idea. Look here. Suppose you went back to bed and did n't find these cylinders till tomorrow morning, when the office opens. From then on you can play it any way you like. Would you do that much for me, Keyes? KEYES Give me one good reason. NEFF I need four hours to get where I'm going. KEYES You're not going anywhere, Walter. NEFF You bet I am. I'm going across the border. KEYES You have n't got a chance. NEFF Good enough to try for. KEYES You'll never make the border. NEFF That's what you think. Watch me. Neff starts to move towards the door, staggering a little, holding himself upright with great effort. KEYES -LRB- In a voice of stony calm. -RRB- You'll never even make the elevator. Neff has reached the door. He twists the knob and drags the door open. He turns in it to look back at Keyes' implacable face. NEFF So long, Keyes. Neff goes out, leaving the door wide open. THE CAMERA FOLLOWS his staggering walk along the BALCONY TOWARDS THE ELEVATOR LOBBY. The sound of his breathing is so harsh and loud that for a moment it dominates the scene. Finally he reaches the swing doors leading into the lobby and starts to push them open. At this moment he collapses. He clutches the edge of the door and as it swings around with him he falls to the floor. He tries to struggle up but can not rise. In background comes the sound of a telephone being dialed. KEYES' VOICE Hello. Send an ambulance to the Pacific Building on Olive Street. Yeah. It's a police job. There is the sound of the phone being replaced in its cradle. Then there are footsteps growing louder along the balcony and Keyes walks slowly into the shot. He kneels down beside Neff. KEYES How you doing, Walter? Neff manages a faint smile. NEFF I'm fine. Only somebody moved the elevator a couple of miles away. KEYES They're on the way. NEFF -LRB- Slowly and with great difficulty. -RRB- You know why you did n't figure this one, Keyes? Let me tell you. The guy you were looking for was too close. He was right across the desk from you. KEYES Closer than that, Walter. The eyes of the two men meet in a moment of silence. NEFF I love you too. Neff fumbles for the handkerchief in Keyes' pocket, pulls it out and clumsily wipes his face with it. The handkerchief drops from his hand. He gets a loose cigarette out of his pocket and puts it between his lips. Then with great difficulty he gets out a match, tries to strike it, but is too weak. Keyes takes the match out of his hand, strikes it for him and lights his cigarette. THE END The following pages are for an alternate ending that director Billy Wilder actually shot but later decided against. KEYES They're on the way. NEFF -LRB- Slowly and with great difficulty. -RRB- You know why you did n't figure this one, Keyes? Let me tell you. The guy you were looking for was too close. He was right across the desk from you. KEYES Closer than that, Walter. The eyes of the two men meet in a moment of silence. NEFF I love you too. Neff fumbles for the handkerchief in Keyes' pocket, pulls it out and clumsily wipes his face with it. Then, clutching the handkerchief against his shoulder, he speaks to Keyes for the last time. NEFF At the end of that. trolley line. just as I get off. you be there. to say goodbye. will you, Keyes? WITNESS ROOM IN DEATH CHAMBER - SAN QUENTIN -LRB- DAY -RRB- Showing the witness room and approximately one - half of the gas chamber. BOOM SHOT towards guard standing BACK TO CAMERA at entrance door. Except for this guard the room is empty. Guard opens the door. Two other guards enter, followed by a group of witnesses and newspaper men, each of whom removes his hat as he enters the room. They form a group around the outside of the gas chamber, some looking in through the glass windows, some standing in the background on low platforms against the wall. THE CAMERA SLOWLY BEGINS TO MOVE IN AND DOWN, AND CENTERS ON Keyes, as he enters the room and stands behind the door. His face is seen through the bars of the door, which is then closed, and CAMERA MOVES TO A CLOSEUP. His eyes follow the action of the closing door, then slowly look towards the gas chamber. THE GAS CHAMBER, EMPTY On its windows show reflections of the spectators, including the face of Keyes. The door to the gas chamber opens in the background, and beyond that another door opens. Neff comes in between two guards. He is wearing a white open - necked shirt, blue denim pants, and walks barefooted on a cocoanut matting. He moves into the gas chamber, looks through the windows in the direction of Keyes and nods quickly, recognizing him. The guards turn him around and seat him in one of the two metal chairs, with his back to the witnesses. They strap his arms, legs and body to the chair. The guards go out. THE DOOR TO THE GAS CHAMBER It is open. The three guards come out of the gas chamber into the ante - chamber, where stand the warden, executioner, two doctors, the minister and the acid man, and possibly several guards. The executioner and one guard close the door. The guard spins the big wheel which tightens it. The wheel at first turns very quickly, then, as it tightens, the guard uses considerable force to seal the chamber tight. The guard steps out of the shot. The gas chamber is now sealed. THE WITNESSES AND KEYES They are intently watching Neff in the gas chamber. THE ANTE - CHAMBER The warden looks slowly around the room, sees that everyone is in his proper place and that the stethoscope, which one doctor holds, is connected with the outlet in the wall of the gas chamber. Also that the man in charge of the acid is ready. The warden makes a motion to the acid man. The acid man releases the mixed acid into a pipe connecting with a countersunk receptacle under Neff's chair. -LRB- This action is only suggested -RRB-. The warden looks at the clock, then turns to the executioner and nods. THE EXECUTIONER - MED. SHOT - CAMERA SHOOTING DOWN FROM HIGH ANGLE TOWARDS EXECUTIONER He pushes a metal lever. -LRB- This immerses the pellets of cyanide in the acid under the chair. -RRB-", "INT. GAS CHAMBER - MED. SHOT CAMERA IS SHOOTING ABOVE Neff's head -LRB- just out of shot -RRB-, towards spectators standing outside the gas chamber, Keyes in the center. Gas floats up into scene between CAMERA and spectators. Keyes, unable to watch, looks away. THE FIRST DOCTOR - CLOSE SHOT as he listens on stethoscope connected with the gas chamber. He glances at the clock above his head. THE SECOND DOCTOR - CLOSE SHOT He stands to right of the gas chamber door, taking notes on a pad. He glances towards First Doctor -LRB- out of scene -RRB- and looks through venetian blinds into the gas chamber. The acid man stands near him. THE FIRST DOCTOR CAMERA SHOOTING FROM HIGH ANGLE TOWARDS HIM as he listens on stethoscope. The doctor glances at the clock again. He takes his stethoscope from his ears. He nods to the warden, This indicates that the man is dead. CAMERA PANS with warden as he turns to open the door connecting the ante - chamber with the witness room. THE WITNESS ROOM - LONG SHOT FROM HIGH ON BOOM DOWN ON WITNESSES GROUPED AROUND GAS CHAMBER The door connecting with the ante - chamber opens. A guard comes through. GUARD That's all, gentlemen, Vacate the chamber, please. The guard withdraws and closes the door by which he entered. The witnesses slowly start to file out. A guard has opened the outer door. The witnesses put their hats on as they pass through. A few go close to the windows of the gas chamber to look in at the dead man before they leave. All the witnesses have now left, except Keyes, who stands, shocked and tragic, beyond the door. The guard goes to him and touches his arm, indicating to him that he must leave. Keyes glances for the last time towards the gas chamber and slowly moves to go out. CORRIDOR OUTSIDE THE DEATH CHAMBER CAMERA SHOOTING IN THROUGH THE OPEN DOOR AT KEYES, who is just turning to leave. Keyes comes slowly out into the dark, narrow corridor. His hat is on his head now, his overcoat is pulled around him loosely. He walks like an old man. He takes eight or ten steps, then mechanically reaches a cigar out of his vest pocket and puts it in his mouth. His hands, in the now familiar gesture, begin to pat his pockets for matches. Suddenly he stops, with a look of horror on his face. He stands rigid, pressing a hand against his heart. He takes the cigar out of his mouth and goes slowly on towards the door, CAMERA PANNING with him. When he has almost reached the door, the guard stationed there throws it wide, and a blaze of sunlight comes in from the prison yard outside. Keyes slowly walks out into the sunshine. stiffly, his head bent, a forlorn and lonely man. THE END" ]

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[ "FADE IN : EXT. THE COUNTRYSIDE - ESTABLISHING - EARLY DAY SUPER : ARDMORE, PENNSYLVANIA A verdant landscape of rolling hills, lush countryside, and ambient peace.", "EXT. THE WICK HOME - ESTABLISHING - EARLY DAY A small, quaint, two-bedroom farmhouse : a classic. Nearby, a small barn -its paint chipped, wood worn- sits nestled within the setting. The homestead feels slightly abandoned, the facade -especially the roof- in dire need of an overhaul.", "INT. THE WICK HOME - THE MASTER BEDROOM - CONTINUOUS The hour hand of an old, electric clock shifts slightly, marking six a.m. A soft alarm sounds. Beneath the blankets, a body shifts, a weathered hand reaching out to silence the antique. A beat... a sigh... a groan... and JOHN WICK -early sixties, salt-and-pepper hair, three-day beard, former boxer, former military, tired, beaten down, and at wit's end- sits up, staring unblinkingly out at the day. A beat... and he stands, donning a weathered robe and a pair of slippers. John stuffs his hands into his pockets...", "INT. THE WICK HOME - THE HALLWAY - CONTINUOUS ... and shuffles down the corridor, the walls overflowing with family pictures, each badly in need of dusting. They catalogue a long and healthy life with his wife, Norma ; the pictures presenting a time line of sorts. No children, yet sheer, unadulterated happiness.", "INT. THE WICK HOME - THE LIVING ROOM - CONTINUOUS As John makes his way through his home, we can see that it is cluttered and unorganized. Dirty, in fact, as if it has n't been cleaned in months.", "EXT. THE WICK HOME - CONTINUOUS John opens the door, retrieves the newspaper, closes, and locks the door behind him, without giving the outside so much as a glance.", "INT. THE WICK HOME - THE KITCHEN - CONTINUOUS John unceremoniously tosses the newspaper onto the table, opens a cupboard, and measures out a couple of tablespoons of Folgers Coffee into an old percolator. As it begins to bubble, John open the fridge, studies its contents for a moment or two, and then closes it, abandoning the thought of breakfast. He pours himself a cup of coffee and sits at the table. The newspaper is ignored. He drinks in silence for a long, dark, brooding moment, the loneliness almost unsettling. Suddenly, the phone on the wall RINGS. John lowers his cup, staring at the device, his eyes tired. A beat... and he stands, walking slowly to answer it. JOHN This is John. As he listens to the voice on the other end, John remains still... stoic. JOHN -LRB- CONT'D -RRB- -LRB- WHISPERS -RRB- Ok. John hangs up the phone and returns to the table, sinking slowly down into his chair. A long beat...... and John begins to weep, his hands trembling as he lowers his face in excruciating, utter, and complete sorrow. FADE TO :", "EXT. THE BARN - ESTABLISHING - DAY Having shaved and showered, wearing an old -but well-fitted- gray suit, John pushes open the garage door...... to reveal a legend in dire need of a total overhaul : a black, 1969 FORD MUSTANG ` BOSS 429'. A smile plays at his lips as John walks into the garage, running a hand along the chassis, desperately in need of a wash and wax. Behind him, the wall is lined with tools : a mechanic's dream enclave. JOHN ENTERS-", "INT. JOHN'S CAR - CONTINUOUS -and closes the door behind him. John takes a moment to breath it in : he loves this car... although he has n't taken very good care of it as of late. A beat... and he slips the key into the ignition, twisting it, the motor coughing to life, the exhaust pipe belching black smoke.", "EXT. THE WICK HOME - CONTINUOUS The vehicle pulls out of the garage, stalls briefly, come back to life, puttering on down the road.", "EXT. THE HOSPITAL - ESTABLISHING - DAY A soft rain begins to fall.", "INT. THE HOSPITAL - A HALLWAY - CONTINUOUS Carrying a humble bouquet of yellow daisies, John slowly makes his way down the eerily empty corridor. He pauses before a picture on the wall, glancing at his reflection upon the glass. He takes a deep breath, exhales, and enters a room.", "INT. THE HOSPITAL - A ROOM - CONTINUOUS John slowly approaches the figure lying in bed : surrounded by machinery, accompanied by the soft sounds of technology. He removes the wilted daisies from the vase, tosses them in the trash, and replaces them with fresh ones. He pulls over a chair, reaches out, and takes Norma's hand : she is comatose, her breathing synthetic... so many machines... so many wires, tubes, and monitors. We never see her face : just her silhouette. He holds her hand for a long moment in heavy silence. Behind him, the DOCTOR -of a similar age to John- enters, placing a hand on John's shoulder. John lowers his head, and nods. With a bit of effort, he stands, staring down at her for a long moment, never once releasing his grip, and leans over to kiss her on the forehead. JOHN... it had to be you... -LRB- a long beat, then -RRB-... be seein' ya'... A beat... and John nods. The doctor turns off the machine ; lights dim, the room settles into silence, and Norma's body grows still. The Doctor leaves John to be alone with his wife. JOHN -LRB- CONT'D -RRB- -LRB- WHISPERS -RRB- Be seein' you. FADE TO :", "EXT. THE BARN - DAY John pulls into the building...... and sits behind the wheel for a long moment...... his eyes unblinking...... so very alone...", "INT. THE WICK HOME - THE HALLWAY - DAY John stands before the wall of pictures, statuesque as he studies them... unmoving... And then, he snaps ; his hands gnarled into first, roaring with rage as he punches the pictures, ripping them from the wall, tossing them aside, eventually collapsing into a heap, out of breath, his knuckles bleeding. A long beat... and he chuckles softly, pulling himself to his feet.", "INT. THE WICK HOME - THE BASEMENT - DAY Unlike the rest of the house, this space is pristine and organized : one half designated as an impressive wood shop, the other an office space with a lazy boy recliner and tube television. John sits at his desk with a pencil in hand, a pad of paper before him, thinking. A long beat... and he sighs with a smile, placing the pencil upon the pad before sliding them both aside. John unscrews the cap off the bottle of scotch and pours himself a healthy dose. He opens his desk drawer, reaches into the back, and finds an old pack of cigarettes, half-empty. He taps one from, places it between his lips, and lights it, taking a deep pull. He holds it, and exhales, his body relaxing. He finishes his drink along with the cigarette, pours himself another...... and then opens a BOTTLE OF PILLS ( The label reading NORMA WICK and OXYCONTIN ), pouring them into a small mound upon the desk. He stares at them for a long moment...... before selecting one, studying it, sighing and- A KNOCK AT THE FRONT DOOR. John freezes, not sure as to how best to proceed. A beat... and someone KNOCKS a second time. John sighs, drops the pill back onto the mound, and walks upstairs.", "EXT. THE WICK HOME - DAY A DELIVERY WOMAN waits for him on the doorstep. John opens the door. DELIVERY WOMAN John Wick? JOHN Yes? She hands him a clipboard and a pen. DELIVERY WOMAN Sign here, please. In a daze, John signs the clipboard and hands it back to her. DELIVERY WOMAN -LRB- CONT'D -RRB- And the pen? JOHN Oh. Sorry. John hands her the pen. DELIVERY WOMAN Here you go! The Delivery Woman hands him a card and a PLASTIC CASE by the handle which he takes without looking. DELIVERY WOMAN -LRB- CONT'D -RRB- Have a good day. John nods, and -as she takes off- heads back inside.", "INT. THE WICK HOME - THE LIVING ROOM - CONTINUOUS John closing the door behind him...... and is startled by a small BARK. A beat... and he looks down to find that he is actually holding a small PET CARRIER. He lifts it to look inside : the face of a young, tri-colored ( black, white, and brown ), CHORGI ( half-Corgi, half-Chihuahua ) looks out at him, her tail wagging fiercely. She barks again, and John lowers it, confused.", "INT. THE WICK HOME - THE KITCHEN - DAY Holding the envelope in his hands, John sits across from the carrier which he has set upon the table. Inside, the Chorgi lies with paws crossed, studying him, tilting her head from side to side. A beat... and John opens the letter. The card inside is simple ; white with a single DAISY drawn upon it. John smiles, instantly knowing who it is from, running a thumb along the face of the flower. He hesitates, but opens the card. NORMA -LRB- V.O. -RRB- Dear, John. If you have received this, then I have not survived the surgery. -LRB- a beat, then -RRB- I am so, so sorry. Tears begin to well in John's eyes. NORMA -LRB- V.O. -RRB- But you've still got a life ahead of you, and I intend for you to live it. You may think you've hidden things from me, but you have n't. I know you. And should this reach you in time -which I pray it has- I beg you, I implore you, to stop. To think. To live. -LRB- a beat, then -RRB- I love you, John. With all my heart. Our years were good. The best, in fact. But I'd rather see you later... than sooner... your best friend... Norma. John lowers the letter, wipes the tears from his cheeks, and stares at the puppy... chuckling. JOHN Well played, Norma. John reaches across, and flicks open the pet carrier. JOHN -LRB- CONT'D -RRB- -LRB- MUTTERS -RRB- Well played. The Chorgi scrambles out of the cage and studies him ; sniffing, licking, and barking. JOHN -LRB- CONT'D -RRB- So... you got ta' name? John checks the collar to find a DAISY-SHAPED medallion which READS- JOHN -LRB- CONT'D -RRB- Moose. -LRB- a beat, then -RRB- Seriously? As if in reply, Moose barks. JOHN -LRB- CONT'D -RRB- All right, then... -LRB- SMILES -RRB-... Moose, it is. FADE TO :", "EXT. THE WICK HOME - ESTABLISHING - EARLY DAY SUPER : THREE YEARS LATER The homestead has been completely overhauled with a new roof on the house, the barn having been painted, the yard attended to... a picturesque scene worthy of a postcard.", "INT. THE WICK HOME - THE MASTER BEDROOM - CONTINUOUS The alarm sounds, followed by silence when a heavy hand drops down upon the snooze button. THUMP. THUMP. THUMP. Silence. THUMP. THUMP. THUMP. Silence. THUMP. THUMP. THUMP. A beat... and John sighs, pulls back the covers, and kicks out his legs, sitting on the edge of the bed, rubbing his eyes. THUMP. THUMP. THUMP. John glances over at MOOSE who lies on the bed, her paws crossed, held tilted, and tail excitedly wagging in notes of three. JOHN -LRB- GROWLS -RRB- I'm up, I'm up. THUMP. THUMP. THUMP. BEGIN MONTAGE - John fries up a couple of pieces of bacon and adds them to his plate of scrambled eggs and toast. He kneels down next to Moose's bowl and pours some of the bacon grease over the kibble. As John takes his seat at the table to enjoy his coffee, breakfast, and newspaper, Moose devours her meal. - With his car tilted up by jack stands, John lays upon a creeper cart beneath it, changing the oil as -nearby- Moose lies in the sun, fast asleep. The vehicle is pristine : fully restored and lovingly detailed. Finishing up, John slides out from beneath the vehicle, and wipes the grease from his hands with a shop towel. JOHN -LRB- CONT'D -RRB- That oughta' do it. -LRB- TO MOOSE -RRB- Wan na' try it out? THUMP. THUMP. THUMP. - At an abandoned airfield, the Mustang roars down the open stretch of landing strip as Moose stands at the open window, tongue wagging in the air. John is in his element : calm, cool, and collected behind the wheel of his car... almost as if it is a natural extension of himself. He deftly shifts gears, reaching speeds in excess of 120 miles per hour before hitting a long patch of gravel, shifting, spinning the wheel, and skidding -while remaining in full control- as the wheels skim over the earth. Moose barks. John smiles, reaching over to scratch her on the back. JOHN -LRB- CONT'D -RRB- Good girl, Moose. Good girl. - At a small park, John sits at a picnic table, eating a sandwich as he works his way through a small book of crossword puzzles. A cup of hot coffee rests nearby as beneath the table, Moose gnaws on a tough piece of rawhide. -At a gas station, Moose barks at passing bikers as John fills the tank. IOSEF TARASOV -mid-twenties, thin, oiled hair, sunglasses, hipster, douche-bag- parks his vintage BMW next to the Ford and as he gasses up, motions. IOSEF Nice ride. JOHN Thanks. IOSEF How much? JOHN It ai n't for sale, kid. Iosef smirks with a shake of his head. IOSEF -LRB- in Russian, subtitled -RRB- Everything's got a fucking price. JOHN -LRB- in Russian, subtitled -RRB- Maybe so... but I do n't. Taken aback by John's fluency, he watches as John enters the vehicle, guns the engine, and drives off. - John dozes on the couch as -between his legs- Moose snores softly. - As John washes his car, Moose chases after birds before - exhausted- laying upon her back in the sun, stretching as she gnaws upon her favorite stuffed animal. - With a glass of scotch resting on the end table beside him, John sits in his weathered La-z-boy recliner with his reading glasses on, a book before him, and Moose curled up, asleep in his lap. A beat... and John closes his book, finishes his SCOTCH- JOHN -LRB- CONT'D -RRB- Come on, then. -and stands, with Moose leaping to the floor, leading the way back upstairs. - Moose lays on the foot of the bed, tail wagging. John smiles, scratching her belly. JOHN -LRB- CONT'D -RRB- Good night, Moose. John climbs beneath the covers, sighs, and slips off to sleep as does Moose. END MONTAGE FADE TO BLACK : FADE IN :", "INT. THE WICK HOME - THE MASTER BEDROOM - LATER John awakes to hear Moose growling with tail thumping, sitting before the closed door. JOHN Do you need to go out? John groans as he rolls out of bed. JOHN -LRB- CONT'D -RRB- -LRB- MUTTERS -RRB- So could I, it would seem... John opens the door. Moose barks, and sprints off into the darkness. JOHN -LRB- CONT'D -RRB- What's gotten into y- We hear a THUMP and a YELP. JOHN -LRB- CONT'D -RRB- Moose! John runs into-", "INT. THE WICK HOME - THE LIVING ROOM - CONTINUOUS -and freezes at the sight of two MASKED MEN...... a half-second before a THIRD MAN steps into frame and drives the butt of his shotgun against the side of John's head. He drops to the floor, hard. JOHN'S POV : Across the room, the silhouette of Moose's body faces him, her breathing labored. VOICE #1 -LRB- O.C. -RRB- -LRB- in Russian, subtitled -RRB- You find the keys? One of the masked men, LIMPS by, dragging his foot slightly, an old injury or birth defect. VOICE #2 -LRB- O.C. -RRB- -LRB- in Russian, subtitled -RRB- Yeah. He kept ` em in a bowl like my old man. Voice # 1 chuckles enjoying this as he sucks on a fresh mint. VOICE #1 -LRB- O.C. -RRB- -LRB- in Russian, subtitled -RRB- Then shit... let the fuckin' babushka fade away and let's get the fuck outta' here. One of the men kneels down next to John, pulling back his mask to reveal his mouth which grins upon him with white lacquered teeth : it is IOSEF. IOSEF I'm glad you did n't wan na' sell, old man. -LRB- CHUCKLES -RRB- I enjoyed this. Iosef cold cocks John as we- SMASHCUT TO : DARKNESS. Silence. ... a long beat, then...... thump...... long beat, then...... thump...... a long beat, then... FADE TO :", "INT. THE WICK HOME - THE LIVING ROOM - CONTINUOUS A small tail rises slowly, and lands with a soft `` thump''. John stirs with a groan, and opens his eyes...... to find Moose's nose touching his cheek. He suddenly sits up, remembering. JOHN... Moose... Moose takes a shallow breath...... thump... John begins to unravel, hands trembling. JOHN -LRB- CONT'D -RRB- -LRB- SOFTLY -RRB- Moose... He touches Moose's side, and she whimpers. John recoils...... and sees the trail of blood from where she was first injured...... having pulled her broken body over to his side. John lies down beside Moose, and softly... tenderly... cradles her head in his hand, rubbing her cheek with his thumb. Moose relaxes, licks his thumb, sighs one last time...... and grows still. John pulls himself up into a sitting position, cradles Moose's still body...... and begins to cry...... rocking back and forth. FADE TO :", "EXT. THE WICK HOME - ESTABLISHING - EARLY DAY INT. THE WICK HOME - THE LIVING ROOM - CONTINUOUS John remains sitting on the floor with Moose in his arms. A long beat... and he stands ; an old, weary, and defeated soul.", "INT. THE WICK HOME - THE BASEMENT - CONTINUOUS John flicks on the light and walks down the stairs, gently placing Moose's body upon his work bench. He searches a shelf and finds a large box which he unfolds...... placing Moose's body within. A beat...... and John reaches down to retrieve Moose's stuffed animal from the floor, placing it down beside her. With a tender -careful- touch, John removes Moose's collar, placing it -almost with reverence- upon a nail in the wall. John stares down at his dog for a long moment...... before closing the box.", "EXT. THE WICK HOME - THE BACK YARD - EARLY DAY John digs a small grave...... places the box, staring at it for a long moment...... and then fills the hole.", "INT. THE WICK HOME - THE LIVING ROOM - EARLY DAY On his hands and knees, John brushes the blood from the floor.", "INT. THE WICK HOME - THE BATHROOM - EARLY DAY John takes a long, hot shower. He sprays a bit of shaving foam into his hand, unfolds his ceramic razor, stares at it for a long moment...... and begins to shave. As he does so, the stress leaves his shoulders, his eyes unblinking, his movements precise. With every flick of his wrist, John seems to change slightly : his features hardening, relaxed, and yet wound tight", "INT. THE WICK HOME - THE MASTER BEDROOM - EARLY DAY John gets dressed, but the outfit is slightly different than we are used to seeing : dark, tailored pants, crisp white shirt, Italian shoes, and a black, leather jacket. The look suits him although it is a tad bit unsettling, making for an intimidating veneer.", "INT. THE WICK HOME - THE KITCHEN - EARLY DAY John sips coffee -no breakfast- alone at the table, staring at the wall. Like clockwork, he lifts his mug, sips, lowers it, waits patiently, lifts, sips, lowers...... there are no micro-emotions, but it is anyone's guess what is taking place in his mind.", "INT. THE WICK HOME - THE HALLWAY - EARLY DAY John leans heavy against the wall, staring at the pictures. We now notice that among the images of John and Norma...... are also pictures of John and Moose. John lowers his head with a sigh, massaging his brow, lost in thought. When he raises his face...... the change which has washed over him...... is complete. FADE TO :", "EXT. A COUNTRY ROAD - ESTABLISHING - DAY A bus roars on by.", "INT. A BUS - CONTINUOUS John sits alone in the middle of the bus...... staring straight ahead...... unblinking. FADE TO :", "EXT. A CITYSCAPE - ESTABLISHING - DAY EXT. AURELIO'S AUTOMOTIVE - ESTABLISHING - DAY INT. AURELIO'S AUTOMOTIVE - CONTINUOUS A 24/7 chop shop, this facility is populated by dozens of hardened criminals, but has become the only family anyone knows. This is a tight knit, loyal, and talented crew. A number of vehicles are being repaired, dismantled, painted, and the like : a non-stop flurry of activity. Walking the floor, AURELIO -late sixties, hard eyes, soft smile, the father figure of this little family- banters with his crew before pausing to help lower a new engine into a car.", "EXT. THE STREET - DAY John's Mustang roars down the street, tires clawing at the earth as it rounds a tight corner.", "INT. THE MUSTANG - CONTINUOUS Perched behind the wheel, IOSEF smiles as, in the passenger's seat...... VIKTOR -mid-twenties, short, stout, a pronounced LIMP, well-dressed, gawdy jewelry, terrible glasses- and, in the back seat...... KIRILL -early thirties, enormous, muscular, meathead- cheers him on.", "EXT. AURELIO'S AUTOMOTIVE - CONTINUOUS The Mustang pulls into the lot, and enters-", "INT. AURELIO'S AUTOMOTIVE - CONTINUOUS -pulling into an empty space. A pair of OLDER MECHANICS notice the car, share an emotionless -yet knowing- look, set down their tools, and calmly leave the building. Iosef, Viktor, and Kirill pour out of the vehicle, laughing. IOSEF -LRB- in Russian, subtitled -RRB- Shit, dude! -LRB- MORE -RRB- IOSEF -LRB- CONT'D -RRB- I'ma gon na' keep this muthafucker! -LRB- to a mechanic -RRB- Hey, where's Aurelio at? Iosef sees Aurelio walking towards him, his gaze locked onto the Mustang, recognizing it. AURELIO Where'd you get that? IOSEF I gots my ways, yo! Now, it's hot as shit, so I wan na paint job, papers, fuckin- AURELIO -LRB- INTERRUPTING -RRB- I said, where... did you get that? IOSEF -LRB- SHRUGS -RRB- Some old fuck. AURELIO -LRB- a beat, then -RRB- I know this car. IOSEF What the fuck are you sayin'? Aurelio opens the driver's side door, reaches up behind the visor, and pulls out the registration card which reads JOHN WICK. AURELIO -LRB- in Italian, subtitled -RRB- Fuck... me. Aurelio quickly replaces the card. IOSEF What? AURELIO Out. Now. IOSEF What the fuck are you talking about? By now, everyone in the facility has stopped working, watching the drama unfold. AURELIO I'm talkin' about you takin' this fuckin' car and gettin' the fuck outta' my shop. IOSEF Did you lose your shit, Aurelio? We own you. You do what we say. AURELIO The fuck you do. Tell me... Aurelio motions towards the car. AURELIO -LRB- CONT'D -RRB-... did you kill him? IOSEF No. -LRB- LAUGHS -RRB- But I sure as hell fucked up his dog. Aurelio's eyes grow wide... knowing. Surprising even himself, Aurelio rears back and delivers a powerful blow to the center of Iosef's face, shattering his nose. Stunned, Iosef reels and drops to a knee, cradling his face, blood seeping between his fingers. In a knee jerk reaction, Kirill pulls his gun. The atmosphere immediately grows tense, the air still, as - throughout the building- Aurelio's mechanics each reach for a hidden weapon : knives, machetes, guns, and the like. Aurelio glares -unblinking- at Kirill as he walks towards him. AURELIO You pull a gun? On me? In my house? Aurelio presses his forehead against Kirill's outstretched gun. AURELIO -LRB- CONT'D -RRB- Flick off the safety. Kirill smirks, and flicks off the safety. AURELIO -LRB- CONT'D -RRB- Pull back the hammer. Kirill blinks, faltering in this game of brinkmanship. AURELIO -LRB- CONT'D -RRB- Now, either shoot me... -LRB- shouts, angry -RRB-... OR FUCK OFF! Silence...... as Viktor lowers Kirill's arm and we can see he is relieved that Viktor intervened. VIKTOR The old man ai n't gon na' like this. AURELIO Maybe not. But he'll understand. Viktor and Kirill help a still dazed Iosef to his feet. IOSEF -LRB- MUTTERS -RRB-... the fuck jus' happened...? FADE TO :", "EXT. A STREET - DAY The bus pulls away from the curb...... and John crosses the street, making a b-line for Aurelio's automotive.", "INT. AURELIO'S AUTOMOTIVE - CONTINUOUS John enters the building which is silent : everyone is gone. John carefully makes his way through the floor, rounding a shelving array to find Aurelio -a cigarette dangling from between his lips- sitting at a folding card table, his hands folded in front of him, a bottle of Campari and two glasses resting nearby. AURELIO Hello, John. JOHN Hello, Aurelio. Silence. Aurelio flips over the glasses and pours two drinks. JOHN -LRB- CONT'D -RRB- Have you seen my car? John takes a glass and slams back the drink, swallowed in a single gulp. AURELIO I have, but it's not here. JOHN Where is it? AURELIO If I turn down the work, the Russians turn to Takeshi and his crew. You'll find them down on Third and Main. JOHN Thank you. John turns to leave, but hesitates. JOHN -LRB- CONT'D -RRB- -LRB- a long beat, then -RRB- Aurelio... AURELIO Yes, John? JOHN... they killed my dog. AURELIO I know, John. I know... but `` they''... -LRB- HESITATING, THEN -RRB-...'' they'' are extremely dangerous people. John nods and walks from the room. JOHN -LRB- MUTTERS -RRB- Are n't `` they'' always... A long beat, and Aurelio sighs, relaxing as he pours himself another drink. FADE TO :", "EXT. A CITYSCAPE - ESTABLISHING - DAY EXT. TAKESHI'S AUTOMOTIVE - ESTABLISHING - DAY An old, quiet, and clean building lost amongst dozens of others in a dying industrial park.", "EXT. TAKESHI'S AUTOMOTIVE - CONTINUOUS A bus pulls up the curb, pauses for a beat, and then rolls off...... leaving behind John who walks across the street, his expression blank. His gait is steady, his shoulders relaxed, hands limp at his sides, breath steady. The two GUARDS at the door glance up as he approaches, standing as they shift into character. GUARD #1 What are you- Without slowing, John reaches into the man's jacket, slips free the pistol from the shoulder holster therein and- THUMP! THUMP! -fires -twice- into the man's heart, before turning- THUMP! - to fire once into the other guard's face, never slowing, kicking open the door-", "INT. TAKESHI'S AUTOMOTIVE - CONTINUOUS -to enter the facility, shooting anything that moves. He is the angel of death : each target receives two well-placed bullets to ensure incapacitation. He never slows, never misses, and will not stop. The primarily Japanese crew is in a panic with most fleeing - a number of whom are shot in the back- while those choosing to shoot back are cut down in a blink. Once emptied, John drops his pistol, kneels, sweeps up a fallen gun up, levels, fires, always moving, and -as he passes by a lift- slaps a button, slowly lowering his Mustang down to the floor behind him. John is a force of nature as he clears out the building. Unstoppable.", "EXT. TAKESHI'S AUTOMOTIVE - THE REAR LOT - CONTINUOUS A couple of mechanics escape the building, the last of which is shot in the back ; dropping to his knees as a bullet slams into the back of his head. Running with all of his might, MECHANIC # 1 screams into his phone. MECHANIC #1 -LRB- in Japanese, subtitled -RRB- I DO N'T KNOW WHO THE FUCK HE IS! HE JUST SHOWED UP AND STARTED SHOOTING! Behind him, John appears in the doorway, aims...... and decides otherwise, lowering the pistol.", "INT. TAKESHI'S AUTOMOTIVE - CONTINUOUS John opens the door to the Mustang, tosses the pistol onto the passenger's seat-", "INT. THE MUSTANG - CONTINUOUS -and slips behind the wheel. A slight smile plays upon his lips as he sighs ; a part of him having been returned. He turns the key, revs the engine, slams his foot down on the GAS-", "EXT. TAKESHI'S AUTOMOTIVE - CONTINUOUS -and crashes through the garage door of the building, tires squealing as the Mustang pulls a one-eighty, righting itself BEFORE-", "EXT. A SERVICE ROAD - CONTINUOUS -leaping out onto the street, furiously gaining momentum, as a trio of heavily-modified NISSAN SKYLINES appear and take chase.", "INT. THE MUSTANG - CONTINUOUS John glances into the rearview mirror, takes the pistol in his left hand, shifts, and spins the wheel-", "EXT. A SERVICE ROAD - CONTINUOUS -turning to face the oncoming vehicles.", "INT. THE MUSTANG - CONTINUOUS John shifts again, and crushes the gas pedal underfoot-", "EXT. A SERVICE ROAD - CONTINUOUS -rear wheels smoking as they struggle to grip the road. Once they do, however, the Mustang leaps forward, bearing down on the Skylines. As the distance between them grows smaller, the passengers of two of the skylines emerge with semi-automatic weapons...... but before either of them can fire...... John fires off four shots, killing them each with a pair of bullets...... before firing until empty...... killing two drivers, and one passenger...... leaving one driver barrelling towards him, covered in his passenger's blood, eyes wide with horror...... as the two other cars crash behind him. As the two vehicles barrel towards one another...... John is stoic...... while the remaining driver is screaming. At the last moment, the driver violently twists the steering WHEEL- -barely avoiding the Mustang- -but loses control of the vehicle, sending it toppling end over end, cart-wheeling amidst a cloud of debris, before landing upside down- -the gas tank having ruptured, fuel gurgling out of the tank to pool around the crushed rooftop.", "INT. A NISSAN SKYLINE - CONTINUOUS The driver hangs from his seat, his belt keeping him in place, stunned and bleeding from the forehead. A beat...... followed by the sound of footsteps. As the driver shifts in his seat, a ZIPPO LIGHTER falls out of his pocket, landing on the ceiling. John kneels down beside him. JOHN -LRB- in Japanese, subtitled -RRB- Where can I find Iosef Tarasov? DRIVER -LRB- in Japanese, subtitled -RRB- I do n't know. A beat... and John reaches inside to retrieve the lighter. He flips it open, and ignites a flame. DRIVER -LRB- CONT'D -RRB- -LRB- in Japanese, subtitled -RRB- Do n't! Please! Iosef! His father! He owns a club in Manhattan! The Red Circle! The Red Circle! A beat... and John closes the lighter and tosses it back into the vehicle. JOHN -LRB- in Japanese, subtitled -RRB- Thanks. A long beat... and the driver sighs. DRIVER -LRB- in Japanese, subtitled -RRB- Fuck.", "EXT. A SERVICE ROAD - CONTINUOUS As John walks back towards his vehicle, we can hear the sound of cop cars approaching...... as a police chopper soars past overhead. John does n't look up as he quickly removes the front and rear license plates -both affixed with quick release clasps- tosses them into the back seat, and-", "INT. THE MUSTANG - CONTINUOUS -slips behind the wheel. He twists, the key, revs the engine, and bolts forward as behind him-", "EXT. A SERVICE ROAD - CONTINUOUS -a pair of police cars round the corner- -and overhead, the helicopter banks, its sights set on the Mustang. BEGIN INTERCUTS BETWEEN INTERIORS AND EXTERIORS OF THE VEHICLES John leads the cops further and further into the city...... with traffic growing heavier with every block...... and yet John maintains his speed- -driving down narrow service alleys with reckless abandon- -and going against traffic, steering with an apt hand. Eventually, John creates enough mayhem to tie up the police on the ground- -leaving the helicopter overhead. On a long stretch of road, John reaches the vehicle's top speed, reaches down, flips open a hidden compartment, and presses a button for- -his NITROUS OXIDE SYSTEM- -which causes the engine to SCREAM, roaring down the road at an incredible speed- -distancing himself from the helicopter to eventually hide in an abandoned warehouse. He parks...... and walks across the street to the local diner...... as overhead, the police chopper searches in vain. END INTERCUTS FADE TO :", "EXT. AURELIO'S AUTOMOTIVE - ESTABLISHING - NIGHT INT. AURELIO'S AUTOMOTIVE - CONTINUOUS The floor is empty, the building quiet.", "INT. AURELIO'S AUTOMOTIVE - THE MAIN OFFICE - CONTINUOUS Sitting at his desk, Aurelio -a cigarette dangling from between his lips- works on a model car, carefully gluing pieces together. The bottle of Campari rests nearby. Music plays softly from a radio nearby. The phone rings. Aurelio takes a deep breath, exhales, and answers it. AURELIO This is Aurelio. VIGGO -LRB- O.S. -RRB- I hear you've struck my son. AURELIO -LRB- deep breath, sighs -RRB- Yes, sir. I did. VIGGO -LRB- O.S. -RRB- Might I ask why? AURELIO Because he stole John Wick's car. Silence. VIGGO -LRB- a long beat, then -RRB- Oh. AURELIO And Viggo? VIGGO Yes? AURELIO Your son killed his dog. VIGGO -LRB- a long beat, then -RRB- Good evening, Aurelio. Click - the line goes dead. Aurelio refills his drink... and chuckles with a shake of his head. FADE TO :", "EXT. A TOWNHOUSE - ESTABLISHING - DAY SUPER : MANHATTAN, NEW YORK A resplendent home in one of the city's wealthiest neighborhoods. A trio of military-grade SEDANS -heavily armored, tinted/bulletproof glass, intimidating- pull up to the curb. The first and third empty as the keen eyes of ten gunmen scour the street, buildings, and rooftops. A beat... and one of them slaps a hand on the middle Sedan's roof. Preceded -and proceeded- by a gunman, IOSEF emerges ; belligerently naive and yet... scared.", "INT. A TOWNHOUSE - THE LIBRARY - CONTINUOUS Lighting himself a cigarette, VIGGO TARASOV -60s, face scarred by a hard life, one eye dead, hair perfectly coifed, expensive suit, a slight limp, relying on a cane- fills a tumbler with ice. He selects a fresh bottle of JEWEL OF RUSSIAN CLASSIC VODKA and twisting off the cap, hesitating. Deciding otherwise, Viggo dumps out the ice, pours himself a double shot, and slams it back...... before refilling the glass with ice and pouring himself a healthy dose. IOSEF ENTERS- VIGGO -LRB- in Russian, subtitled -RRB- Close the door. -and closes the door behind him, tilting his chin towards his father with a smirk. IOSEF Poor me a double, aye? VIGGO -LRB- SIGHS -RRB- Aye. In a surprising blur of motion, Viggo spins- -and drives a fist into Iosef's stomach with enough force to lift him -momentarily- from the ground. With the wind knocked out of him, Iosef drops to his knees, opens his mouth to say something, but instead vomits, gagging as he gasps for breath. Viggo casually returns to the bar, grabs a towel, and tosses it down onto his son. VIGGO -LRB- CONT'D -RRB- -LRB- in Russian, subtitled -RRB- Clean that up. Again, Iosef opens his mouth to say something, but decides otherwise. He grabs the towel and cleans up his mess. Viggo takes his drink and walks to the window, his cigarette smoldering from the corner of his lips. VIGGO -LRB- CONT'D -RRB- You should know by now that I live by one simple rule... -LRB- in Russian, subtitled -RRB- Should a whelp snap at your fingers, you crush it's fucking skull. Iosef pulls himself to his feet, and stumbles to the bar, pouring himself a drink. IOSEF -LRB- hushed, pained -RRB- What'd I do? VIGGO -LRB- in Russian, subtitled -RRB- You fucked up. IOSEF I do n't know what y- Viggo backhands him, the sound more painful than the strike. VIGGO Yes. You do. IOSEF -LRB- hesitating, then -RRB- So I stole a fucking car! So fucking what? Viggo smiles -amused- finishes his drink...... and drives a fist into Iosef's stomach again, dropping him once more to his knees, tears rolling down his cheeks as he vomits up his own drink. VIGGO Use that tone with me again... Viggo kneels down next to Iosef, grabs his hair, pulls back his head, produces a switchblade, flicking open the blade and placing it to the flesh directly beneath his son's right eye. VIGGO -LRB- CONT'D -RRB- -LRB- in Russian, subtitled -RRB-... and I'll serve your eye to you in your martini. Trembling, Iosef chokes back tears. VIGGO -LRB- CONT'D -RRB- -LRB- in Russian, subtitled -RRB- Am I understood? IOSEF -LRB- gulps, then -RRB- Yes... father. A beat... and Viggo removes the blade from Iosef's cheek and stands, folding the switchblade closed as he stands to pour himself another drink. VIGGO It was n't the `` what you did'', Iosef, which draws my ire, but `` who you did it to''. IOSEF What? -LRB- a beat, then -RRB- The old man? VIGGO Careful, son... that old man happens to be three years younger than I. Iosef lowers his eyes, his breath catching in the back of his throat. VIGGO -LRB- CONT'D -RRB- His name is John Wick... -LRB- smirks at the memory -RRB-... and when he was fifteen, he lied his way into the marines and headed off to Vietnam. He specialized in force-oriented reconnaissance, meaning he often crossed over into enemy territory to both collect information and -should the opportunity present itself- fuck with the enemy in whatever way that he saw fit.", "EXT. THE WICK HOME - ESTABLISHING - CONTINUOUS INT. THE WICK HOME - THE BASEMENT - CONTINUOUS Wearing an undershirt and pants, sweating profusely, John wields a SLEDGEHAMMER which he swings down onto the floor time and time again, cracking the concrete foundation. VIGGO -LRB- V.O. -RRB- John earned four hundred and seventeen confirmed kills over the course of his five tours. The majority of those were done by hand, by blade, and by small caliber... which is unheard of.", "INT. A TOWNHOUSE - THE LIBRARY - CONTINUOUS Viggo takes a long pull off of his drink as the information sinks into Iosef, the blood draining from his face. VIGGO It got to him, though. Hell... How could it not? Even though he won every military distinction on record, including the Medal of HONOR-", "INT. THE WICK HOME - THE BASEMENT - CONTINUOUS John has revealed an OLD TRAP DOOR IN THE FLOOR- VIGGO -LRB- V.O. -RRB- -John was eventually discharged - with high honors, of course- and found himself in the city... -which he swings open, revealing a ladder. VIGGO -LRB- V.O. -RRB-... lookin' for work. John grabs a flashlight and heads down.", "INT. A TOWNHOUSE - THE LIBRARY - CONTINUOUS Viggo lowers his empty glass as Iosef refills his glass with a trembling hand. IOSEF -LRB- hesitating, then -RRB- What kind of work? VIGGO -LRB- GROWLS -RRB- What kind do you think? IOSEF -LRB- a beat, then -RRB- Oh.", "INT. THE WICK HOME - THE SUB-BASEMENT - CONTINUOUS John shines the light down a thin corridor stacked high with a variety of boxes, military containers, and briefcases. VIGGO -LRB- V.O. -RRB- John was the goddamned boogeyman ; give him a name, request a method, and he'd get it done. Come hell or high water, by God... he'd get it done.", "INT. A TOWNHOUSE - THE LIBRARY - CONTINUOUS Viggo leans against the fireplace, suddenly tired. VIGGO Then one day, he fell in love and left the game. The years scrolled past, age set in, and he -like myself- had to watch the love of his life die. Suddenly alone, with no family to speak of, John deserved to live -and die- in peace. -LRB- GROWLS -RRB- Instead...", "INT. THE WICK HOME - THE SUB-BASEMENT - CONTINUOUS John selects a black case, unclasps it, and swings it open- VIGGO -LRB- V.O. -RRB- -LRB- GROWLS -RRB- You went and killed his fucking dog. -to reveal a number of PISTOLS, SILENCERS, and AMMUNITION.", "INT. A TOWNHOUSE - THE LIBRARY - CONTINUOUS Iosef drops down into a chair, the comprehension of his actions clear. VIGGO Until I say otherwise, you are under house arrest. Am I understood? IOSEF -LRB- MUTTERS -RRB- Yes, sir. Viggo turns to leave, chuckling softly to himself. VIGGO John Wick. Good God... He pauses at the door, glancing back at his son with a crooked smile. VIGGO -LRB- CONT'D -RRB- -LRB- in Russian, subtitled -RRB- Sweet dreams.", "EXT. THE WICK HOME - ESTABLISHING - NIGHT INT. THE WICK HOME - THE KITCHEN - CONTINUOUS John sits at the kitchen table, having cleaned and assembled one pistol, now oiling a second. His hands are steady, his skill impressive. We slowly move past him, over the counter, to the door whose handle softly turns. We pull back as it opens- -FOUR MEN in black masks, each armed with a silenced pistol enter, fanning out- -and yet John is nowhere to be seen...... and two silenced pistols are missing from the table.", "EXT. THE WICK HOME - CONTINUOUS A COP CAR pulls up in front of the barn.", "INT. A COP CAR - CONTINUOUS Behind the wheel, CARLO -late twenties, a bit dim, but nice enough- kills the engine. CARLO Let's see here... Carlo checks the dashboard computer. CARLO -LRB- CONT'D -RRB-... a black, 1969 Ford Mustang registered to one John Wick. Age... -LRB- DEFLATES -RRB-... 61. Chuckling EDWARDO -58, nearing retirement, large, heavy, smarter than he looks- takes a sip of coffee from his paper cup before unbuckling his belt. EDWARDO Yeah, I'm thinkin' he's the one. ROBERTO Should we even bother? edwardo opens his door... EDWARDO Protocol's protocol. Stay put. I'll make this quick. ... and exits.", "INT. THE WICK HOME - THE LIVING ROOM - CONTINUOUS The four masked men enter the living room, each wound tight, their silenced weapons at the ready. The lead among them enters the hallway- -and is shot twice ; once in the chest, and once in the head. As he goes down, John moves past, killing two others, leaving the remaining gunmen-", "INT. THE WICK HOME - THE KITCHEN - CONTINUOUS -cowering in the kitchen, leaning against the wall.", "INT. THE WICK HOME - THE LIVING ROOM - CONTINUOUS JOHN AIMS- -the kitchen light casting the gunman's shadow- -and fires twice into the wall-", "INT. THE WICK HOME - THE KITCHEN - CONTINUOUS -hitting the gunman in the back and the head, dropping him to the floor.", "INT. THE WICK HOME - THE LIVING ROOM - CONTINUOUS A KNOCK AT THE DOOR. John lowers the pistol, walks to the door, and peers through the keyhole to see Edwardo standing on his porch. A beat... and John slips the pistol in the back of his pants, unlocks, and opens the door. An awkward pause, then- EDWARDO Evenin', John. JOHN Evenin', Ed. EDWARDO You workin' again? John follows his gaze...... to see that a dead gunman is in Edwardo's direct line of sight. JOHN No... just sorting out a few things with the Russian mob. EDWARDO Ah. Well, then... sort that out however you see fit. I'll cover your ass on my side of the fence as best I can. JOHN Thanks, Ed... but you still owe me. EDWARDO That, I do. -LRB- a beat, then -RRB- Good night, John. JOHN Good night, Ed. Edwardo turns, takes a few steps, hesitates, and turns back. EDWARDO Earlier today, there was an incident involving a ` 69 Mustang- JOHN Yeah, that was me. EDWARDO Oh. Well, then... I'd recommend you find yourself a new ride for the time being. The heat on that make ai n't gon na' die down for quite some time. Edwardo leaves. John closes and locks the door behind him.", "INT. A COP CAR - NIGHT Edwardo slips into his seat, closing the door behind him. ROBERTO Well? EDWARDO -LRB- SIGHS -RRB- He ai n't our fuckin' guy. -LRB- MOTIONS -RRB- Who's next on the list?", "INT. THE BARN - NIGHT John pulls a large roll of plastic sheeting down from the rafters, balancing it on his shoulder with a grunt. He grabs a roll of duct tape as he exits.", "INT. THE WICK HOME - THE LIVING ROOM - NIGHT John drops the plastic sheeting down upon the floor, and rolls it out. Standing over one of the gunmen, he reaches down, retrieves the man's pistol, and slips it into the holster at the man's side. John then kneels beside him and pushes the body onto the plastic, rolling him up tight. Using his ceramic straight razor, the plastic is cut off from the roll. Wrapping the feet, arms, and head tight with duct tape, John repeats this process with each body...", "INT. THE WICK HOME - THE KITCHEN - LATER ... until they are neatly lined up near the back door. John takes the phone off the wall, thinks for a long moment, and dials a number. A long beat, then... JOHN This is Wick. John Wick, that's right. Yeah, it has been awhile. -LRB- a beat, then -RRB- I'd like to make a reservation for four. John glances at the bodies. JOHN -LRB- CONT'D -RRB- Ten o'clock? Perfect. Thanks. John hangs up.", "INT. THE WICK HOME - THE SUB-BASEMENT - NIGHT John casually opens one of a half-dozen, identical, silver cases stacked among the others. Inside are hundreds of AMERICAN LIBERTY GOLD BULLION COINS. John counts out SIX of them, and closes the case.", "INT. THE WICK HOME - THE LIVING ROOM - NIGHT John mops up the blood...... and spackles the bullet holes in his wall. We hear a KNOCK at the back door. John wipes his hands against his pants, and-", "INT. THE WICK HOME - THE KITCHEN - CONTINUOUS -opens the door. Removing his hat, CHARLIE -70s, small, creepy, thin, frail, eyes gentle, a tattooed smirk upon his lips- extends his hand with a smile. CHARLIE Good to see you, John. John shakes his hand. JOHN You, too, Charlie. Charlie enters, followed by two GOONS -forties, tall, muscular, emotionless- who offer John little more than a nod before they begin carrying the bodies out of the house. CHARLIE I was sorry to hear about Norma. JOHN Thanks. CHARLIE She was always kind to me. -LRB- a beat, then amused -RRB- So, what have you been doing to pass the time? JOHN I got me a hobby or two. CHARLIE I can see that. -LRB- HESITATING -RRB- Tell me, John... are we back in the game, now? JOHN Sorry, Charlie, but no. I'm on my own nowadays. CHARLIE -LRB- SIGHS -RRB- That is a pity. I find the new breed of your ilk unstable, ill- wrought, and tiresome. The overused adage holds true : they do n't make ` em like they used to, John. JOHN -LRB- SMILES -RRB- No, they do n't. GOON #1 We're a go, boss. CHARLIE Excellent. John hands Charlie the six gold coins which he graciously accepts with a slight tilt of the head. JOHN Thanks. CHARLIE My pleasure, John... and might I be expecting more such visitations? JOHN I make no promises on that. CHARLIE -LRB- CHUCKLES -RRB- Well said. Charlie extends his hand. John shakes it. CHARLIE -LRB- CONT'D -RRB- Be seein' you, John. JOHN See ya', Charlie. John closes the door. FADE TO :", "EXT. A TOWNHOUSE - ESTABLISHING - EARLY DAY INT. A TOWNHOUSE - THE KITCHEN - CONTINUOUS Cutting vegetables with a large knife, Viggo slides them onto the face of an open omelette simmering in the pan. As he folds the egg over onto itself, his phone rings. He answers it. VIGGO -LRB- in Russian, subtitled -RRB- Yes? Viggo rubs his brow with a frown, his head down. VIGGO -LRB- CONT'D -RRB- -LRB- in Russian, subtitled -RRB- Of course he did. -LRB- a beat, then -RRB- Put the word out. Two million to the man who kills John Wick. Three million to the man who delivers him intact. Viggo hangs up, thinks for a moment, slips the omelette onto a plate, hesitates, and then dials a number.", "EXT. A CITYSCAPE - ESTABLISHING - CONTINUOUS SUPER : MAJORCA, SPAIN A beautiful, rustic, Mediterranean setting.", "EXT. A MANSION - ESTABLISHING - CONTINUOUS Situated on a hundred acres populated by thousands of almond trees, the building -complimented by the grounds- is breathtaking.", "EXT. THE FIELD - CONTINUOUS Accompanied by CESCA -a middle-aged, Majorcan Shepherd Dog, similar in look to a Black Labrador- as he walks -cane in hand- through his property, MARCUS -seventy, thin, balding, round spectacles, clean shaven, always well-dressed, expensive watch, and although he may look frail, he is anything but- whistles softly to himself. His cellphone vibrates. He answers it. MARCUS Yes? -LRB- a beat, then -RRB- Why, hello, Viggo. What's it been? Seven years? Seven years... -LRB- a beat, then -RRB- Life? Marcus looks around with a smile, reaching down to scratch Cesca behind the ears. MARCUS -LRB- CONT'D -RRB- Life is good.", "INT. A TOWNHOUSE - THE KITCHEN - CONTINUOUS Viggo nods, eating a mouthful of the omelette. VIGGO Good, good. -LRB- hesitating, then -RRB- I've a favor to ask. One that pays quite well.", "INT. A MANSION - CONTINUOUS Marcus chuckles with a shake of his head. MARCUS As I keep telling those -like you- who keep calling, Viggo... I'm retired. Marcus listens to Viggo talk...... pausing in mid-step...... his brow furrowed, eyes still. MARCUS -LRB- CONT'D -RRB- Come again? -LRB- a beat, then -RRB- John Wick? -LRB- a long beat, then -RRB- Consider it done. Marcus ends the call, slips the phone back into his pocket, takes a deep breath, exhales, turns, and starts walking back to his house. MARCUS -LRB- CONT'D -RRB- -LRB- in Catalan, subtitled -RRB- Sorry, Cesca... but I've an old friend to attend to. FADE TO :", "EXT. THE TRAIN STATION - ESTABLISHING - DAY EXT. THE TRAIN STATION - CONTINUOUS Pushing a cart of luggage before him, John enters, studying the security checkpoint. He spots EVAN -60s, African-American, weathered, large man with a kind face- who works for the TSA, manning a security checkpoint. As John approaches the two share a knowing glance. EVAN -LRB- MOTIONS -RRB- Pockets. John places his keys, phone, wallet, and TWO GOLD COINS into the tray...... as Evan casually flips off the x-ray machine, allowing both John and his luggage through without incident. John retrieves his keys, phone, and wallet from the tray- EVAN -LRB- CONT'D -RRB- Good day, sir. -and walks on as Evan turns the x-ray machine back on, slipping the gold coins into his pocket. FADE TO :", "EXT. THE RAIL TRACKS - ESTABLISHING - DAY A silver-nosed train roars past, its wheels melting snow from the tracks beneath it.", "INT. THE TRAIN - CONTINUOUS John sits alone, the train half-empty, staring out at the countryside passing him by. FADE TO :", "EXT. A CITYSCAPE - ESTABLISHING - DAY The city is a roiling mass of activity. FADE TO :", "EXT. THE CONTINENTAL - A HOTEL - ESTABLISHING - DAY Small, trendy, and posh : an upscale, boutique hotel.", "INT. THE CONTINENTAL - THE LOBBY - CONTINUOUS Carrying a bulky briefcase in each hand -with the duffel bag slung across his shoulders- John approaches the front desk where the MANAGER smiles up at him. MANAGER Hello, sir. How may I help you today? JOHN I called ahead. Reservation for John Wick. The Manager checks his computer. MANAGER Ah, yes. I have you for two nights. JOHN Depending on business, it may be more. MANAGER That's not a problem, sir. We're only at sixty percent capacity. -LRB- MORE -RRB- MANAGER -LRB- CONT'D -RRB- Just let me know should you choose to extend your stay. JOHN -LRB- LOOKING AROUND -RRB- Y'know, I have n't been here in years. When did the old girl get a facelift? MANAGER About twelve years ago. JOHN Same owner? MANAGER -LRB- NODS -RRB- Same owner. John slides across a GOLD COIN... JOHN Is she still singin'? ... which the Manager -without so much as a blink- slides into his pocket. MANAGER She is. Daily, in fact. Round about midnight. JOHN That's good to hear. The Manager hands him a key. MANAGER Floor seven, room nine. -LRB- MOTIONS -RRB- Would you like help with your bags? JOHN No, thanks. MANAGER Will there be anything else then, sir? JOHN -LRB- glances at his watch -RRB- Can you send me up a hamburger - rare, mustard, onions, pickle- and fries? MANAGER -LRB- writing it down -RRB- Yes, sir. And to drink? JOHN A nice Pinot. Mid-range. I'll leave that to your discretion. MANAGER Yes, sir. I have one in mind. It'll be up in a half-hour. JOHN Thank you. FADE TO :", "INT. THE CONTINENTAL - ESTABLISHING - DUSK The sun has begun to set ; the street lamps having begun to ignite.", "INT. JOHN'S HOTEL ROOM - CONTINUOUS A half-eaten meal is scattered upon the table, the bottle of wine half-empty. Resting upon the bed, the briefcases lie open, revealing a veritable armory of dismantled weapons, numerous clips, and boxes of ammunition. Sitting at the desk, John pauses from cleaning a pistol to empty the wine into his glass. Once done, he pulls back the slide, studies the pistol with a keen eye, releases it, carefully loads a clip with bullets, and slides it into the pistol : locked and loaded. From a small wooden case, John selects a SILENCER which he screws onto the pistol. He sets it down next to a pump- action sawed-off SHOTGUN, a SNIPER RIFLE, an old school UZI SUBMACHINE GUN -silenced- with a polished mahogany stock, a K- BAR DAGGER, and another pistol. A beat... and John stands, slips the silenced pistol into the back of his pants, dons his jacket, turns off the light, and leaves.", "EXT. THE RED CIRCLE - ESTABLISHING - NIGHT An upscale night club, the line curled around the side of the building, generously serviced by heat lamps to accommodate the almost non-existent dresses of the many young women.", "EXT. THE RED CIRCLE - CONTINUOUS John approaches the BOUNCER -30s, Russian, massive, tattooed neck, intimidating, his suit one size too small on purpose- who controls entry, the guest list glowing upon his tablet computer. BOUNCER Name? John hands him three, hundred dollar bills. JOHN Guest. The Bouncer takes the bills, pockets them, and unclips the red velvet rope, allowing him entry. BOUNCER Welcome. JOHN Thanks. As John enters, those in the front of the line complain but are ignored as the rope is re-attached.", "INT. THE RED CIRCLE - THE LOBBY - CONTINUOUS Strangely enough, the lobby is laid back and pleasant. A single bar is available to the dozen or so patrons who lounge about smoking, laughing, and talking as servers wander the floor, offering a variety of appetizers. Beyond the lobby, however, is a security station -replete with a METAL DETECTOR- in front of the elevators : the `` action'' it would seem, is on the top floor. John approaches the security station and pauses, dropping to a knee to tie his shoe...... and remove his silenced pistol, shoving it deep into the soil of a potted plant. John stands, empties his pockets into a small plastic bin, hands it to a guard, and walks through : he is clean. JOHN Thanks. John takes his things, enters the elevator, and presses the red `` P'' for penthouse.", "INT. THE RED CIRCLE - THE PENTHOUSE LOBBY - LATER The doors to the elevator open, the music deafening. John exits, turns left, and enters-", "INT. THE RED CIRCLE - THE PENTHOUSE DANCE FLOOR - CONTINUOUS -a two-story structure with the VIPs assembled up top ; each having paid for their private tables. John enters, carefully studying the room. He approaches the bar and waves down a bartender. BARTENDER What can I get you? John motions upwards as he slides across five, hundred dollar bills. JOHN A table. The Bartender studies him... and then takes his money. BARTENDER This way. John follows the Bartender...... who slips a hundred dollar bill to each of the goons on either side of the staircase, heads upstairs...", "INT. THE RED CIRCLE - THE PENTHOUSE - 2ND LEVEL - CONTINUOUS ... and slips two bills to the Waitress- BARTENDER -LRB- TO JOHN -RRB- Enjoy. -before returning to the bar. WAITRESS This way, sir. John follows the Waitress...... to a table with a perfect view of both levels. WAITRESS -LRB- CONT'D -RRB- Will this do? JOHN Yes, thank you. WAITRESS What would you like to drink? JOHN Single Malt. Irish, if you've got it. John slides her two more hundred dollar bills. JOHN -LRB- CONT'D -RRB- And start me up a tab. WAITRESS Yes, sir. I've got a ten-year Michael Collins. JOHN Perfect. Do you have a meat and cheese plate? WAITRESS I do. Anything else? JOHN No. Thank you. As the Waitress turns to fill his order, John studies the floor...... and the upper balcony... searching.", "EXT. THE RED CIRCLE - ESTABLISHING - NIGHT A soft snow begins to fall.", "INT. THE RED CIRCLE - THE PENTHOUSE - 2ND LEVEL - CONTINUOUS John nibbles on some cheese and bread as he pours himself a generous helping of whiskey. Down below, Viktor -finishing off his drink- LIMPS past. John's eyes narrow. He finishes his drink, stands, and follows after Viktor, almost breathing down his neck. Book-ended by a pair of Estruscan bodyguards who follow every move he makes, Viktor slaps a waitress on the ass as he walks past. VIKTOR -LRB- in Russian, subtitled -RRB- Another bottle of the Goose, love! SMASHCUT TO :", "INT. THE WICK HOME - THE LIVING ROOM - FLASHBACK As John stares at Moose's silhouette...... VIKTOR limps past. VIKTOR -LRB- O.C. -RRB- -LRB- in Russian, subtitled -RRB- Yeah. He kept ` em in a bowl like my old man. SMASHCUT TO :", "INT. THE RED CIRCLE - THE BATHROOM - CONTINUOUS Drunk, Viktor and his bodyguards enter the bathroom, pausing to light a cigarette, before limping into-", "INT. THE RED CIRCLE - THE BATHROOM - A STALL - CONTINUOUS -where he leans against the wall in front of the toilet, eyes at half-mast.", "INT. THE RED CIRCLE - THE BATHROOM - CONTINUOUS John enters as a patron leaves, the bathroom now empty save himself, Viktor, and the bodyguards. As the door closes, John produces his CERAMIC STRAIGHT RAZOR, drives it between the door and the jamb, and snaps it in two.", "INT. THE RED CIRCLE - THE PENTHOUSE - 2ND LEVEL - CONTINUOUS A patron approaches the door and attempts to enter, but it wo n't budge. He shrugs and heads off in search of another bathroom.", "INT. THE RED CIRCLE - THE BATHROOM - CONTINUOUS One of the bodyguards turns as John approaches, his eyes instantly wide -uncomprehending- as the broken tip of the blade easily slices open his neck, splashing John with his own hot blood.", "INT. THE RED CIRCLE - THE BATHROOM - A STALL - CONTINUOUS Viktor glances towards the closed door with a smirk. VIKTOR Hello?", "INT. THE RED CIRCLE - THE BATHROOM - CONTINUOUS As the bodyguard drops to his knees -bleeding out- the second guard produces a pistol and -as John moves into him- manages to fire off a round which punches through John's shoulder.", "INT. THE RED CIRCLE - THE BATHROOM - A STALL - CONTINUOUS Viktor tenses -eyes wide- shakes off before zipping up his pants, reaches into his jacket, and fumbles for his gun.", "INT. THE RED CIRCLE - THE BATHROOM - CONTINUOUS With a cry derived far more from anger than pain, John head butts the other bodyguard -shattering his nose, his face instantly crimson with blood- before slashing the remnant of the blade wide, severing the bodyguard's artery. The door to the bathroom stall opens and as Viktor emerges with pistol held out- -John slaps it aside, breaks his arm and kicks in his leg-", "INT. THE RED CIRCLE - THE BATHROOM - A STALL - CONTINUOUS -sending him to his knees, screaming. John grabs the broken arm, twists it behind Viktor's back, drags him towards the towel, grabs him by the hair, and shoves his face into the toilet. He holds him there for a good amount of time...... before ripping him back out. Gasping for breath, Viktor's eyes are wide, sobriety having swiftly returned. VIKTOR -LRB- CHOKING -RRB- What the fuck d- John answers by slamming his head against the rim of the toilet -breaking Viktor's nose- before shoving his face back beneath the water. A long beat...... and John pulls Viktor back up for air. JOHN -LRB- in Russian, subtitled -RRB- My name is John Wick. You took my car. You killed my dog. Where... is Iosef? VIKTOR Fuck you, old m- Behind his back, John snaps Viktor's wrist, and -as he drives his face back beneath the water- John snaps one finger after the next. Underwater, Viktor screams, struggling. John pulls him free. VIKTOR -LRB- CONT'D -RRB- -LRB- WAILING -RRB- VIGGO! HIS FATHER! HE'S WITH VIGGO! JOHN And where is Viggo? VIKTOR He moves about... from one place to the next... he's put Iosef under his thumb... wherever Viggo goes, so does Iosef. John twists Viktor's arm, breaking it with a dry SNAP. Viktor screams...... but John keeps holding his arm painfully in place. JOHN -LRB- in Russian, subtitled -RRB- Where... is... Viggo? VIKTOR -LRB- in Russian, subtitled -RRB- Please... I do n't know... please... A beat...... and John drives Viktor's head down upon the toilet rim at an odd angle, his neck snapping. Silence. John removes Viktor's wallet and cellphone before exiting the stall.", "INT. THE RED CIRCLE - THE BATHROOM - CONTINUOUS He slides Viktor's wallet into one pocket and his cell phone into another. At the sink, he turns on the cold water tap...... splashes it up into his face, turns...... and pauses, realizing that he is covered in blood. John pulls off his shirt, wipes the blood from his face, tosses the shirt aside, reaches down, removes Viktor's shirt, and slips it on, carefully buttoning it up. He wets his hair, slicks it back, turns, removes the piece of ceramic blade wedged in the door frame, tosses it into the trash, and leaves.", "INT. THE RED CIRCLE - THE PENTHOUSE - 2ND LEVEL - CONTINUOUS John passes by the Waitress, pausing to hand her a couple of hundred dollar bills. JOHN Please close out my tab. WAITRESS Yes, sir. -LRB- NODS -RRB- Thank you, sir. The blood from his shoulder wound begins to seep into the shirt, but only he notices it. JOHN Good evening. WAITRESS Good evening, sir. John heads down the staircase-", "INT. THE RED CIRCLE - THE DANCE FLOOR - CONTINUOUS -and calmly makes his way through the sea of dancers...... as up top, chaos erupts but is silenced by the deafening music.", "INT. THE RED CIRCLE - THE STAIRWELL - CONTINUOUS Using his one good shoulder, John opens the steel door, and - his skin pale, cold sweat upon his brow- moves as fast as he can downwards. His shoulder hurts. The blood loss nears critical.", "EXT. THE RED CIRCLE - AN ALLEY - NIGHT John exits the building as he scrolls through Viktor's phone, searching. He finds Iosef's number, and as he calls it, studies the image of Iosef which appears on screen.", "EXT. VIGGO'S TOWNHOUSE - ESTABLISHING - NIGHT INT. VIGGO'S TOWNHOUSE - A BEDROOM - CONTINUOUS Iosef lays on his bed with an arm behind his head, smoking as he stares up at the ceiling. We hear the vibration of his cell phone. He lifts the phone, smiles at the sight of Viktor's caller I.D., and answers. IOSEF -LRB- in Russian, subtitled -RRB- Hey, Vik. JOHN -LRB- O.S. -RRB- -LRB- a long beat, then -RRB- Viktor is dead. Iosef bolts upright, his breath stuck in his throat, eyes wide.", "INT. AN ALLEY - CONTINUOUS John trudges through the snow with Viktor's phone to his ear. JOHN As for the car, I got that back, but as for Moose, well... I'm takin' a page from Exodus on that one : an eye for an eye. -LRB- a beat, then -RRB- No... no, better yet, Genesis.", "INT. VIGGO'S TOWNHOUSE - CONTINUOUS Iosef swallows hard. JOHN -LRB- O.S. -RRB- Adah and Zillah, hear my voice ; Wives of Lamech, listen to my speech. For I have killed a man for wounding me, even a young man for hurting me. If Cain shall be avenged sevenfold, then Lamech seventy-sevenfold.", "INT. AN ALLEY - CONTINUOUS John peers around the corner. JOHN Make your peace with God, Iosef... -LRB- in Russian, subtitled -RRB-... for the Devil shall see you soon.", "INT. VIGGO'S TOWNHOUSE - A BEDROOM - CONTINUOUS A long beat... and Iosef hangs up his phone, staring at the wall... a solitary tear rolling down his cheek.", "EXT. AN ALLEY - CONTINUOUS John tosses the phone down into the snow, and jogs across the street...... as MARCUS -a cigarette smoldering between his lips- watches him from the shadows. FADE TO :", "INT. THE CONTINENTAL - ESTABLISHING - NIGHT INT. THE CONTINENTAL - THE LOBBY - CONTINUOUS The lobby is empty -save the Manager- who glances up from his computer...... to find a wounded -and quite bloody- John walking towards him. MANAGER -LRB- WITHOUT BLINKING -RRB- Good evenin', sir. JOHN Evenin'. Is the doctor in? MANAGER Yes, sir. Twenty-four/seven. JOHN Send him up, please. MANAGER Yes, sir. Anything else, sir? JOHN Depends. How good's your laundry? MANAGER The best, sir, however, I'm sorry to say that... -LRB- hesitating, then -RRB-... no one's that good. John chuckles, sliding a gold coin across to the Manager. JOHN No, I thought not. -LRB- NODS -RRB- Send me up a beer, too, will you? MANAGER Yes, sir. What do you favor? JOHN Anything cold.", "EXT. THE CONTINENTAL - ESTABLISHING - NIGHT INT. JOHN'S HOTEL ROOM - CONTINUOUS Sitting in a chair with his shirt off and a beer in hand, John grits his teeth as the DOCTOR -80s, steady hands, glasses, thinning hair, frail, but strong- removes the bullet from his shoulder, dropping it into a glass of water. JOHN Did she chip off? DOCTOR Lucky for you, no. It looks to be a sub-sonic. JOHN Good to hear. The Doctor cleans the wound, dries it off, and begins to sew shut the wound.", "INT. THE CONTINENTAL - THE HALLWAY - LATER The Doctor exits as John stands in the doorway, his shoulder bound tight with gauze. JOHN What sort of movement am I lookin' at? DOCTOR If you're lookin' to heal right quick, then keep it marginal. However, if you've still... -LRB- searching, then -RRB-... got a bit a' business to attend to... The Doctor hands him a pill container. DOCTOR -LRB- CONT'D -RRB-... take two of these beforehand. You will rip open, you will bleed, but you will have full function. JOHN And after? DOCTOR It'll hurt like hell, son... but come the long run, you'll be fine. John hands the Doctor two gold coins. JOHN Thanks, doc. DOCTOR It's what I do. -LRB- NODS -RRB- Evenin', John. JOHN Evenin'. John closes the door behind him. FADE TO :", "EXT. THE CONTINENTAL - ESTABLISHING - NIGHT The snow now falls harder, although the pace seems lazy.", "INT. THE CONTINENTAL - THE KITCHEN - CONTINUOUS Dressed in a fresh suit and tie, John strides through the kitchen, ignored by the bustling staff.", "INT. THE CONTINENTAL - THE KITCHEN - DRY STORAGE - CONTINUOUS John enters the room, and makes his way to the back where a small staircase leads downward. John walks down them and enters-", "INT. THE CONTINENTAL - THE SUB-BASEMENT - CONTINUOUS -walking down the long, brick-enclosed corridor...... stopping before a large, thick, imposing IRON DOOR. John removes a gold coin from his pocket...... and slips it into a slit -similar to that of a pay phone- to the right of the door. A beat...... and a section of the door slides open, revealing a pair of judging eyes. This is EDDIE -30s, red beard, shaven head, pierced, tattooed, three piece suit- intimidating as hell. He studies John for a long moment. EDDIE -LRB- a beat, then -RRB- I do n't know you. JOHN Maybe not... but I know this place. A beat... and Eddie slides the view piece shut. A beat... and the door is unlocked, swinging open. John enters, and the door is immediately swung shut behind, sealed and locked tight.", "INT. THE CONTINENTAL - THE SPEAK EASY - ENTRYWAY - CONTINUOUS The room is small, but comfortable. To the right are a number of coat/hat racks populated by a dozen or so items. To the left is a bank of modified cigar locker ; dozens of transparent, safety-deposit boxes framed in mahogany with a plaque -etched with a name- upon each. Eddie hands the coin back to John. EDDIE You carryin'? JOHN No. Wait... John snaps back his wrist...... and hands Eddie the ceramic straight blade. JOHN -LRB- CONT'D -RRB- Sorry. EDDIE You got ta' name? JOHN John Wick. Eddie recognizes this name, his demeanor changing drastically. EDDIE Oh. Eddie turns, finds a locker with the name JOHN WICK carved upon it, opens the small door, slides in the blade, and closes it. JOHN How about you? EDDIE What about me? JOHN You got ta' name? A beat... and Eddie smiles, extending a hand, instantly warm. EDDIE They call me Eddie. JOHN -LRB- SMILES -RRB- Pleased to meet you, Eddie. EDDIE Same goes for me, Mr. Wick. JOHN Please... call me, John.", "INT. THE CONTINENTAL - THE SPEAK EASY - NIGHT John enters the room through a pair of velvet drapes...... and pauses, taking it all in with a smile. A luxurious tavern crafted from a long forgotten speak-easy, the room is n't too big, and is n't too small, but... just right. Booths line the outside walls while a number of tables are scattered about. Near the stage, a small dance floor has been cleared, the wooden tiles worn, but lovingly cared for. On stage, JENNY -80s, African-American, petite, a commanding presence- sways behind the microphone, singing an old standard, her voice similar to that of Billie Holiday ; strong, tender, and sincere. Her eyes grow wide at the sight of John, but she never wavers from her tune. As John makes his way through the room, everyone nodes, offers a handshake, or a simple greeting : this is an old family... of a sort. In the corner, WINSTON -70s, English, tall, lean, well- dressed, glasses, tailored, precise- sits with a worn, paperback copy of THE TELL-TALE SHREW in one hand and a dry sherry in the other. JOHN Hello, Winston. Winston lowers the book, and glances across at John with a blank -yet warm- look. WINSTON Hello, Jonathan. -LRB- a beat, then -RRB- It's been awhile. JOHN That, it has. -LRB- LOOKING AROUND -RRB- I'm glad to see the old place still up and runnin'. WINSTON -LRB- HALF-SMILES -RRB- I could say the same for you. John approaches the bar...... where JIMMY -40s, African-American, three-piece suit, expensive watch, kind eyes, quick to smile- looks up with a grin. JIMMY Ho... lee... shit. JOHN Hey, Jimmy. The two shake hands like old friends. JIMMY John, my God, it's been... what? JOHN I'm no good with time, but... it's been awhile. JIMMY That, it has. -LRB- a beat, then -RRB- We we're all broken up over Norma, y'know. JOHN She got the card, the flowers... she knows you -all of you- loved her. -LRB- a beat, then -RRB- And thanks, Jimmy. It meant a lot to me as well. JIMMY Well, shit, it's good to see you, John. What can I get you? JOHN I'd love a martini. JIMMY Gin, dry, and onions? JOHN Good man. JIMMY Go on and take a seat. I'll be with you in a moment. JOHN Thanks, Jimmy. JIMMY All good, John... and seriously... it's good to see you. As John leaves Jimmy to make his martini, John strays towards the stage. Jenny finishes her song, the audiences politely applauds, and she steps down to give him a strong embrace. JENNY John Wick in the flesh... my, oh, my... will wonders never cease. John smiles... almost sheepishly. JOHN Hey, Jenny. JENNY Where've you been keepin' yourself? JOHN I'm not quite sure, but with that said... here I am. JENNY Here you are, indeed. My, oh, my... Jenny hesitates, and then clasps a hand to his shoulder. JENNY -LRB- CONT'D -RRB- I miss her, too, y'know... JOHN I know. JENNY And I have n't... I mean, not since the last time... -LRB- hesitating, then -RRB- Would you mind... if I sang it? -LRB- SMILES -RRB- You can say, `` no''. JOHN -LRB- CHUCKLES -RRB- No, no, Jenny... go right ahead. In fact... please do. I'd like to hear it, too. JENNY Will do. Jenny hugs him again, kissing him on the cheek. JENNY -LRB- CONT'D -RRB- This visit of yours ai n't no passin' fancy, is it? JOHN No, ma'am. JENNY Well, then... you be safe, you hear? JOHN -LRB- nods, smiles -RRB- I hear. Jenny takes to the stage...... as John sinks into his booth. JIMMY NODS- JIMMY Enjoy. -as he slides a martini across to John. On stage, Jenny whispers to the members of her small band before taking to the microphone. JENNY It's been awhile, but... here's to the past... may it influence our future. The music begins...... and Jenny sings IT HAD TO BE YOU. Her rendition is powerful, sweet, endearing, passionate, and sincere. As John watches her sing, a smile tugs at the corner of his lips. On the empty dance floor...... John watches a younger version of himself with Norma...... dancing slowly... twirling... her head on his shoulder...... smiling...... with a sigh...... before disappearing. John swallows -hard- as a trembling hand wipes away a tear. Jenny smiles at him with a nod. He returns the gesture. She continues to sing. John raises his glass as- -SNAP. SNAP. SNAP. SNAP. SNAP. CUT TO : A CELLPHONE Five pictures of John are inconspicuously taken...... by DAVID PERKINS -late twenties, cocky, expensive tastes, lean, cruel- at a table across the way. David sends them with a text : `` Is this him?'' A beat... and he receives a text in return : `` Yes. Where are you?'' David texts back : `` The Continental.'' A beat... and he receives a text : `` We may not engage in hostilities upon those premises.'' David texts back : `` I'm willing to take the risk.'' A beat... and he receives a follow up text : `` Take him alive. Should you fail, we disavow. Should you succeed, we reward... greatly.'' David smiles... CUT TO : ... as does John. Once the song is done, Jenny is met with boisterous applause...... with John clapping the hardest among them. FADE TO :", "INT. THE CONTINENTAL - THE HALLWAY - NIGHT Exhausted -and more than a bit tipsy- John runs a hand along the wall to maintain his balance. He sings under his breath... humming the tune to IT HAD TO BE YOU. At his door, he fumbles with his key card, but finally manages to open it.", "INT. JOHN'S HOTEL ROOM - CONTINUOUS John closes and locks the door behind him. He sheds his jacket, his shoes, and his pants...... flicks off the lights...... and crawls beneath the blankets with a sigh. FADE TO :", "EXT. THE CONTINENTAL - ESTABLISHING - NIGHT The snowstorm ends, the city suddenly still.", "INT. THE CONTINENTAL - THE HALLWAY - CONTINUOUS Empty. A long beat... and two figures appear at one end of the hall while three appear at the other end : suits, ties, gloves, and masks. One of them inserts a key card attached to his cell-phone and hacks the lock ; the light turning from red to green. Another places a small, MAGNETIC GUN to the door, adjusts the setting, and pulls the trigger-", "INT. JOHN'S HOTEL ROOM - CONTINUOUS -causing the latch to leap back from the door...... which opens. All five men enter, closing the door behind them. Sound asleep, John lays upon his back beneath the covers, snoring softly. Well-rehearsed, two men focus upon his legs while two focus upon his arms, their hands hovering above an appendage as they wait for the fifth ( DAVID )...... who produces a plastic baggie, inside of which rests a damp TOWEL. David removes the towel...... counts down with a nod from 3... 2... 1... Like a well-oiled machine, hands clasp down upon John's arms and legs as David slaps the rag down upon John's mouth. John's body tenses as his eyes snap open...... but he does not inhale. A beat... and John twists at an odd angle, causing one of the men holding his arm to lose his grasp. With his one arm free, John reaches up, grabs David's wrist, and snaps it. As David stumbles backwards with a cry, the others pounce upon John...... who produces the K-BAR blade from beneath the blankets, driving it into the side of one man's neck once... twice... three times...... before releasing the blade, arching his back, and wrapping his legs around another man's neck, tensing until -SNAP- the man's neck breaks. The remaining three -horrified- are at a loss ; far removed from their element. David and a gunman run for the door as a third steps back, removes his silenced pistol from a shoulder holster, and blindly fires. The bullets etch up along the mattress and into the headboard...... as John rolls off the bed, reaches beneath it, and grabs the shotgun. BOOM! The gunman's left leg disappears as -screaming- he sinks to the ground. BOOM! John fires again, hitting the fallen gunman in the chest. BOOM! John fires at the fleeing gunman in the open doorway-", "INT. THE CONTINENTAL - THE HALLWAY - CONTINUOUS -sending him spinning out into the hallway. BOOM! He is shot a second time in the back, dead in a blink. David rips off his mask as he slides to a stop, hands up, just as John emerges from his room, pumping the shotgun for affect. A beat... and he walks towards David, the weapon steady. DAVID -LRB- TREMBLING -RRB-... please... John places the shotgun to the back of David's head. John is terribly -to an unsettling degree- calm. He produces a small pill container, taps out two, and swallows them as he rolls his injured shoulder with a groan. JOHN -LRB- TERRIBLY CALM -RRB- Do you know where Iosef is? DAVID No, sir. JOHN Do you know where Viggo is? DAVID N-no, sir. JOHN -LRB- SIGHS -RRB- Do you know anythin' worth knowin'? Tears roll down David's cheeks as he wracks his brain, thinking. JOHN -LRB- CONT'D -RRB- Just because I'm good at killin'... does n't mean I like it all that much. -LRB- a beat, then -RRB- Give me something. DAVID Wait, wait! -LRB- swallowing hard, then -RRB- Little Russia. There's a small bank near Cannon Court... JOHN What about it? DAVID Viggo owns it. It's where he keeps his money. Every dollar of business he does clears through that building. JOHN -LRB- a beat, then -RRB- That'll do. John swings the shotgun, knocking David out with the butt. CLICK. John freezes...... as HARRY -60s, African-American, former NFL receiver, tall, lean, and imposing, yet currently dressed in boxers, a t-shirt, and dress shoes- aims a pistol at the back of John's head from the open doorway of his hotel room. Silence. HARRY Do I know you? JOHN I'm thinkin' so. John turns...... and Harry lowers his pistol. HARRY Oh. Hey, John. JOHN Hey, Harry. Harry glances about at the bodies...... and steps back inside his room. HARRY Good night, John. JOHN -LRB- NODS -RRB- Night, Harry. -LRB- a beat, then -RRB- Hey, Harry. Harry hesitates, but glances out from behind his door. HARRY Yeah, John? JOHN You keen on earnin' a coin? HARRY -LRB- hesitates, then sighs -RRB- Times bein' as they are? Yeah, John... I am. JOHN Do you mind babysittin' the breathin' one for, I dunno... -LRB- checking his watch -RRB-... the next six hours or so? HARRY Catch and release? John tosses Harry a gold coin. JOHN -LRB- NODS -RRB- Catch and release. HARRY Can do. We hear the sound of a phone ringing. Harry grabs David by the feet as John heads back towards his room. JOHN Good night, Harry. Harry drags David back towards his room. HARRY Good night, John.", "INT. JOHN'S HOTEL ROOM - CONTINUOUS John enters his room, and answers the ringing phone. MANAGER Good evening, Mr. Wick. I'm sorry to be calling you at this hour, but we've received a number of noise complaints from your floor. JOHN You do n't have to worry about that anymore. I'll be going to bed soon. MANAGER Have you any need of -say- a dinner reservation, perhaps? JOHN Yes, in fact. -LRB- COUNTING -RRB- For four. MANAGER Six o'clock? JOHN Perfect. Oh, and... -LRB- hesitating, then -RRB- Do you cater? -LRB- SMILES -RRB- Excellent. I'll need a car, and... well... something a bit less trivial. FADE TO :", "EXT. A BRIDGE - ESTABLISHING - DAWN Well-lit, but empty ; a beautiful expanse of architectural history.", "EXT. A BRIDGE - CONTINUOUS John walks with his hands in his pockets, his head down, lost in thought. He pauses to light himself a cigarette...... a long beat...... and he lowers his head, flicking ash. JOHN You willin' to put a bullet in my back, Marcus? Emerging from the shadows behind him, Marcus holds a silenced- pistol, his leather-gloved hand steady. A beat...... and Marcus smiles, slipping the pistol back into his jacket. MARCUS I owe you, John. Marcus joins him at the rail. John offers him a cigarette- JOHN Been awhile, Marcus. -which Marcus accepts- MARCUS Too long, I'd argue. -leaning forward to ignite the tip from John's lighter. He pulls back with a nod, squinting out into the night. JOHN Why'd you take the job then? MARCUS Because if not for me, it would have been someone who'd have just now pulled the trigger and simply walked away, leaving you to gasp your last. JOHN -LRB- NODS -RRB- Much appreciated, then. MARCUS Besides, we're the last of our kind ; an endangered species of a sort. And I find comfort in knowing that there's someone like me still out there. JOHN -LRB- a long beat, then sighs -RRB- What am I doing, Marcus? I mean... it is just a... was a... dog, but... John runs a trembling hand through his hair. MARCUS It's always `` just'' something, John. `` -LRB- MORE -RRB- MARCUS -LRB- CONT'D -RRB- Just'' a wife, `` just'' a son, `` just'' a friend, `` just'' a house, `` just'' a car... `` just'' a dog... or `` just'' a cat. Each of these I've lost in no particular order, and each time the pain I felt was quite real. And my chosen reciprocity to each was no more -and no less- brutal than any other. JOHN -LRB- a beat, then -RRB- This is n't like me. MARCUS -LRB- smiles, nods -RRB- Maybe not, but for the rare man of our ilk -those who survived an arguably unsurvivable life- the few things we find time to care for... pass long before we do... A long silence...... and Marcus finishes his cigarette, tossing it out into the darkness. MARCUS -LRB- CONT'D -RRB- Good night, John. JOHN Good night, Marcus. Marcus turns, and heads back into the train...... as John continues to stare out into the night. A long beat... and he produces his cell phone, dialing a number. FADE TO :", "EXT. A DINER - ESTABLISHING - EARLY DAY A corner dive, popular, but its population is sparse this early in the morning. A limousine pulls up to the curb.", "INT. A DINER - CONTINUOUS Sipping coffee in a corner booth, John watches the front of the building...... lowering his mug as VIGGO -accompanied by two men- enter. VIGGO -LRB- in Russian, subtitled -RRB- Wait in the car. The two men exit as Viggo walks towards the booth, shedding his jacket as he does so. Only one of John's hands is above the table, the other hovering beneath it, a pistol held tight, unwavering. Viggo slips into the seat. VIGGO -LRB- CONT'D -RRB- Is that really necessary? John answers by taking a sip of his coffee. Viggo shrugs with a frown, motioning towards the waitress as he flips over his mug. VIGGO -LRB- CONT'D -RRB- So be it. WAITRESS -LRB- filling the mug -RRB- Cream or sugar? VIGGO No, thank you. As she walks away, Viggo takes a long pull off of his drink. VIGGO -LRB- CONT'D -RRB- It's been what? 30 years? JOHN Yeah, that's about right. VIGGO Left the game, got married, settled down... I envy that. -LRB- a beat, then -RRB- Kids? JOHN No. VIGGO Lucky bastard. JOHN We tried, but... was n't in the cards. VIGGO I fucked a bartender and -ta dah! - nine months later, I had me a piece a' shit tossed on the old doorstep, but... when it comes down to it... -LRB- GLOWERS -RRB- He's still my son. JOHN -LRB- NODS -RRB- I figured as much. VIGGO Funny how one would both die and kill for something they do not love. JOHN Imagine what one would do if they did. Viggo nods, takes a sip of his coffee, and stands. VIGGO Goodbye, John. JOHN Goodbye, Viggo. Viggo leaves the diner, and slides into-", "INT. A LIMOUSINE - CONTINUOUS -where four of his men wait, each armed with a silenced, submachine gun : intimidating hardware. Viggo closes the door, takes a deep breath, and sighs, rubbing his brow. VIGGO Kill him. BOOM! A round slams into his window, barely missing him before hitting the man seated next to him in the side of the head, blood spattering against glass. Viggo dives to the floor as his men prepare to return fire-", "EXT. A DINER - CONTINUOUS -but John is a crackshot, firing as he strides towards the VEHICLE-", "INT. A LIMOUSINE - CONTINUOUS -killing two men and wounding a fourth who drops down next to Viggo, screaming. VIGGO DRIVE!", "EXT. A DINER - CONTINUOUS John ejects a spent clip, slaps in a fresh one in a blink, and unloads into the limousine which jerks forward, tires squealing as it drives off.", "INT. A LIMOUSINE - CONTINUOUS Viggo lies on his back, staring at the ceiling as he lights himself a cigarette. VIGGO People do n't change. Do they, John? -LRB- to the screaming gunman -RRB- SHUT... THE FUCK... UP!", "EXT. A DINER - CONTINUOUS John slips the gun into the back of his pants, turns, and calmly walks away. FADE TO :", "INT. A SUBWAY STATION - ESTABLISHING - DAY The train pulls up and begins to empty, crowding the platform.", "INT. A SUBWAY STATION - CONTINUOUS John exits the train, stuffs his hands into his pockets, and seeks to disappear into the crowd...... as KIRILL and TWO GUNMEN spot him. They move towards him...... following...... hands reaching beneath their jackets, fingers curling around triggers as silenced pistols are slipped free by steady hands. KIRILL Babushka. John slows his stride, hands out to his side, mind racing. SMASHCUT TO :", "INT. THE WICK HOME - THE LIVING ROOM - FLASHBACK - NIGHT With consciousness fading, John leans back upon the floor, listening to the voices of his assailants. With his face hidden within his mask, Kirill chuckles - enjoying this- as he sucks on a fresh mint. KIRILL -LRB- O.C. -RRB- -LRB- in Russian, subtitled -RRB- Then shit... let the fuckin' babushka fade away and let's get the fuck outta' here. SMASHCUT TO :", "EXT. A SUBWAY STATION - CONTINUOUS John tenses, his features hard. Kirill grins, willing for John to give him reason to fire. Suddenly, a frail commuter stumbles into their midst- THUMP! THUMP! THUMP! -killing each with a single, silenced round to the heart. Kirill is dead before he hits the ground. Amidst a growing sense of chaos, MARCUS shares a parting glance with John, slips the pistol in his pocket, smiles, and tips his hat down low over his eyes. John returns the nod and disappears in the opposite direction. FADE TO :", "EXT. A PARKING LOT - ESTABLISHING - DAY EXT. A PARKING LOT - CONTINUOUS John walks up to an old, FORD LTD sedan. He reaches up into a rear wheel well, and rips free a set of keys which had been duct-taped within. He opens the trunk : we recognize the suitcases therein as his own. However, there is also a LARGE DUFFEL BAG as well which he opens, studies its contents, and -satisfied- zips shut. He closes the trunk, opens the front door-", "INT. A SEDAN - CONTINUOUS -slides inside, starts the engine-", "EXT. A PARKING LOT - CONTINUOUS -and drives off. FADE TO :", "EXT. A STREET - ESTABLISHING - DAY A number of the quaint old buildings share both English and Russian signs.", "EXT. A STREET - ESTABLISHING - DAY With his hands stuffed deep into his pockets, John exits an alleyway and ducks into-", "INT. A CAFE - CONTINUOUS -where he motions `` one'' to the waitress. She points towards a booth. He nods, sheds his jacket, takes a seat, and glances down at the menu. Through the window, John studies the front facade of A BANK building. HIS POV : The BANK MANAGER -checking his watch- flips over the sign in the door from CLOSED to OPEN. WAITRESS What can I get you? JOHN Americano, please. And a bear claw. WAITRESS On it. JOHN Oh, and the bathroom? WAITRESS Down the hall to the left. JOHN Thanks.", "INT. A CAFE - THE HALLWAY - DAY Pulling on a pair of leather gloves, John walks down the hallway, but instead of turning left, he turns right-", "EXT. A CAFE - THE REAR - CONTINUOUS -exiting the building. He flips his jacket inside-out -from black to gray- and slips on a face mask. Reaching down behind a trash can, he removes a TWO GALLON PLASTIC GAS TANK and a PISTOL before walking back down the alley, and out into-", "EXT. THE STREET - CONTINUOUS -making a b-line for the Bank. As he walks across the street, traffic stops as onlookers gawk in horror. John opens the door, and enters-", "INT. A BANK - CONTINUOUS -firing two shots in the air. JOHN EVERYBODY OUT! -LRB- on their looks -RRB- NOW!!!! Customers flee, secretaries scramble after them, as does the Bank Manager...... who slides to a halt, John's pistol staring down at him. JOHN -LRB- CONT'D -RRB- Not you. BANK MANAGER But... why not... me? JOHN Take me to Viggo's stash. BANK MANAGER Wha... what? JOHN His stash. Personal Holdings. -LRB- GROWLS -RRB- Piggy `` fucking'' Bank. BANK MANAGER What?!? I ca n't just- BOOM! BOOM! BOOM! BOOM! John fires four shots...... killing the two gunmen who appeared behind the Bank Manager. BANK MANAGER -LRB- CONT'D -RRB- -LRB- a beat, then hushed -RRB- This way.", "INT. A BANK - THE VAULT - CONTINUOUS The Bank Manager swings open the door, revealing two walls of safety-deposit boxes on either side...... with a large door in the rear of the vault leading into a secondary vault. A keypad is attached to its face replete with a fingerprint reader. John presses the barrel of the gun to the back of the Bank Manager's head and forces him into the vault. JOHN Open it. BANK MANAGER I ca n't. JOHN Open it. BANK MANAGER He'll kill me! JOHN So will I. The bank manager hesitates...... and then presses a thumb to the reader and types in a code. A beat... and the door opens with a hiss. BANK MANAGER Now, p- John pistol-whips the Bank Manager, knocking him out. Without really looking inside-", "INT. A BANK- SECONDARY VAULT - CONTINUOUS -John tosses the plastic gas can into the secondary vault, and unloads the pistol...... into the gas can which explodes into flame, illuminating the space to reveal pallets of cash, smuggled artwork, jewels, and the like stashed therein. John tosses the pistol inside, and walks away. As the fire grows, devouring the millions of dollars in liquid assets...", "EXT. A BANK - THE STREET - CONTINUOUS John casually walks across the street, ignoring the gawkers, and enters the alleyway.", "INT. A BANK - THE VAULT - CONTINUOUS The Bank Manager comes to with a groan, pulling himself up to his feet. His jaw draw drops -eyes wide- at the sight of the fire. BANK MANAGER... fuck... me...", "EXT. A DINER - THE REAR - CONTINUOUS John tosses the gloves and mask into the trash, turns his jacket back out, slips it back on, and enters-", "INT. A DINER - THE HALLWAY - CONTINUOUS -walking down the hallway to enter-", "INT. A DINER - CONTINUOUS -slipping into his seat as the Waitress arrives with his coffee and donut. WAITRESS Anything else? JOHN That'll do. Thank you. John takes a deep breath, exhales...... and relaxes as across the street, the Bank Manager emerges from the building, and flees off down the street. FADE TO :", "EXT. A BANK - LATER A beat... and the trio of intimidating sedans pull up to the curb. The gunmen in the rear and front vehicles emerge, studying their surroundings. A beat... and one of the gunman slaps a hand to the roof of the center car. Proceeded -and preceded- by a bodyguard, Viggo emerges, stuffs his hands into his pockets, and marches into the bank as across the street...", "INT. A CAFE - CONTINUOUS ... John watches. JOHN -LRB- MUTTERS -RRB- No cops. That's new. WAITRESS We good, hon? JOHN Yeah. Yeah, we're good. Thanks. The waitress rips the receipt off of her pad- WAITRESS Anytime. -and drops it on the table in front of him. John stands, tosses a twenty down on top of it, turns, and leaves, snagging a toothpick at the cashier's booth before exiting.", "INT. AN ALLEY - CONTINUOUS As John walks, he reaches down behind a trash can...... and retrieves a LARGE BRIEFCASE.", "INT. A BANK - SECONDARY VAULT - LATER Viggo stands in the center of the small room with his head down, prodding a smoldering Picasso with the tip of his foot. VIGGO -LRB- in Russian, subtitled -RRB- Where's the manager? The question is met by silence. VIGGO -LRB- CONT'D -RRB- -LRB- in Russian, subtitled -RRB- I'd run, too. -LRB- a beat, then in English -RRB- What a shame... what a fucking... -LRB- SIGHS -RRB-... shame... Viggo is trembling with rage, hands clenched at his sides, eyes unblinking. VIGGO -LRB- CONT'D -RRB- -LRB- in Russian, subtitled -RRB- Iosef... my son... is worth less than this... far less... treasures reduced to ash... -LRB- in Russian, subtitled -RRB-... ash...", "EXT. A BANK - LATER With his head down -hands stuffed deep into his pockets, a cigarette smoldering between his lips- Viggo exits, slowly making his way towards his car.", "INT. A DIESEL TRUCK - CONTINUOUS Perched behind the wheel -the driver's side window missing- John shifts gears, slams his foot down onto the gas...... and narrows his eyes, tensing, his knuckles creaking from within leather gloves as his fingers constrict around the wheel of the stolen vehicle.", "EXT. A BANK - CONTINUOUS The gunmen react to the sound of the engine's roar, the two nearest it's approach dropping to a knee, aiming, and firing. Bullets slam into the windshield -a round slashing into John's cheek, clipping his ear- and engine block before the front left tire blows. John loses control of the truck which fishtails wildly, slamming into a sedan, crushing two gunmen before it cartwheels through their midst, killing three more before coming to a stop on its side. A gunmen pushes Viggo towards the center sedan- GUNMEN -LRB- in Russian, subtitled -RRB- GET IN! NOW! -shoving him inside. Three gunmen approach the truck, firing repeatedly.", "INT. A DIESEL TRUCK - CONTINUOUS Dazed, John -his face cut by glass, fresh wounds seeping hot blood- reaches over into the open briefcase, removing the silenced-UZI therein. John shoots out the sunroof, dragging himself free of the vehicle as he ducks for cover.", "EXT. A STREET - CONTINUOUS As the Sedan peels out, John swiftly ejects the clip, selects another -wrapped in blue tape, these ARMOR-PIERCING BULLETS are dark gray, seemingly sharpened to a tip- from a clip belt, slaps it into weapon, drops to a knee and- -as the Sedan drives past- -depresses the trigger.", "INT. THE SEDAN - CONTINUOUS Bullets easily punch through the doors and windows, riddling the dash..... the passenger, the driver...... the seats...... one gunmen, Viggo, another gunmen...... and the seats.", "EXT. THE STREET - CONTINUOUS The Sedan veers off, plummeting into the store front of a pharmacy.", "EXT. A BANK - CONTINUOUS John ejects the spent clip, selects another wrapped in blue tape, turns towards the fallen truck, and pulls the trigger. The bullets punch through the roof, seats/floor, and undercarriage of the vehicle...... cutting the remaining gunmen to shreds on the sidewalk behind it. The clip empties. Silence. John tosses the Uzi into the truck, turns, and walks towards the store front from which the rear half of a sedan protrudes, pausing to slip free a silenced-pistol from a dead man's hand.", "INT. A PHARMACY - CONTINUOUS John enters, glancing into the Sedan as he moves past : the gunmen are all dead, but Viggo is missing, a rear door open. John rounds the corner...... to see a trail of blood. He follows it...... to find Viggo dragging his broken body, his switchblade in one hand, his cellphone in the other. The knife is unceremoniously dropped as he struggles to dial 9... 1...... before the phone slips through his fingers, slick with blood. VIGGO -LRB- in Russian, subtitled -RRB- NO! NO! -LRB- SIGHS -RRB-... no... John stands over him, the pistol level. As if sensing him, Viggo rolls over with a groan. VIGGO -LRB- CONT'D -RRB- Tell me, John... and please... be honest... am I dying here? John hesitates, squats, and retrieves Viggo's cell phone. JOHN Unless I complete the call, then... yes. VIGGO For me to die like this... -LRB- spitting, enraged -RRB-... BECAUSE OF HIM... -LRB- SIGHS -RRB-... would be unfortunate. Viggo is fading... fast. VIGGO -LRB- CONT'D -RRB- I was sending Iosef to a safe house in Moscow. I arranged for transport via... a grain ship... out of Newark... Viggo coughs, trembling. VIGGO -LRB- CONT'D -RRB-... please... John stands, dials an additional `` 1'', and the send button...... but it is too late : Viggo is dead. John tosses the phone down onto Viggo's chest, slips the gun into the back of his pants, turns and as he walks towards the store front...... grabs a bottle of rubbing alcohol from the shelf, unscrewing the cap.", "EXT. A STREET - CONTINUOUS John dumps the bottle onto his head, gritting his teeth, as behind him...... the sedan EXPLODES behind him. John does not react. He tosses aside the bottle, stuffs his hands into his pockets, lowers his head, and walks on. FADE TO :", "EXT. THE CONTINENTAL - ESTABLISHING - DAY INT. HARRY'S HOTEL ROOM - CONTINUOUS David sits in a chair with his head down : his ankles, wrists, mouth, and eyes bound by duct tape. A weathered hand reaches over and RIPS the tape off of his eyes. David winces out of pain and the brutal sensation of light. HARRY -LRB- O.C. -RRB- Housekeepin'll find ya'. Dressed in a three-piece suit, Harry places an old -but gingerly cared for- hat upon his head, a ring upon his finger glistening, his watch an enviable antique. HARRY -LRB- CONT'D -RRB- But son? You done a bit a' business on the Continental grounds... Harry lifts his suitcase and turns heading for the door. HARRY -LRB- CONT'D -RRB-... and management, well... Harry opens the door... HARRY -LRB- CONT'D -RRB-... they do n't take kindly to that sort a' thing. ... and exits, leaving the door ajar. David slumps in his seat ; exhausted, broken, and defeated. FADE TO :", "EXT. A CITYSCAPE - ESTABLISHING - DAY/NIGHT SUPER : NEWARK, NEW JERSEY Day becomes night.", "EXT. THE DOCKS - ESTABLISHING - NIGHT A bustling mecca of commerce, the port never sleeps ; ships of all shapes and sizes dock, empty their shipment, refilled with return cargo, and slip out into the night. A multi-hulled beast of a ship, THE CHAYKA ( Seagull ) rests dock-side, its bridge guarded by a small army of security guards. Overhead, scattered throughout the cranes, are a half-dozen SNIPERS, searching/studying the dockyard.", "INT. THE CHAYKA - THE HULL - CONTINUOUS Cellophane-wrapped pallets of WEAPONS and bales of CASH are carried by forklifts into the center of the hull and bolted to the floor. Meanwhile, two dozen high-end, luxury cars enter the hull, each driven into its own reinforced, steel crate, the doors sealed shut behind them. As the last WORKER leaves, he shouts into his walkie-talkie. WORKER FILL HER UP! Overhead, a large chute appears-", "EXT. THE CHAYKA - CONTINUOUS -and the OPERATOR presses a button, sending a seemingly endless stream of grain down into the hull, covering the smuggled goods.", "INT. THE CHAYKA - THE CAPTAIN'S CABIN - CONTINUOUS Chewing on an unlit cigar, the CAPTAIN -60s, enormous, grizzled, salt-and-pepper beard, long, unkempt hair, dressed in denim and leather- studies paperwork at his desk while Iosef paces ; a cigarette in one hand, a drink in the other. IOSEF How the fuck long do I have to stay down here? CAPTAIN Until we are at sea, and even then, your access up top will be limited. The Captain's phone rings. He answers it. CAPTAIN -LRB- CONT'D -RRB- Yes? The Captain's face falls, his jaw clenched. CAPTAIN -LRB- CONT'D -RRB- I'll let him know. Proceed as scheduled. The Captain hangs up, finds a match, sparks it to flame, and ignites the tip of his cigar, puffing it like an old steam engine. CAPTAIN -LRB- CONT'D -RRB- Your father... IOSEF -LRB- SCOFFS -RRB- What about him? CAPTAIN He is dead. Iosef is stunned. IOSEF What? CAPTAIN I'm sorry. He was k- The Captain is cut off by the intercom which squawks to life, a screaming voice reduced to panicked static. The Captain slaps a hand down onto the call button. CAPTAIN -LRB- CONT'D -RRB- Come again? OPERATOR -LRB- O.S. -RRB- We're taking fire, sir!", "EXT. THE CHAYKA - THE DECK - CONTINUOUS A number of security guards lay dead upon the deck -bleeding out from single gunshot wounds- as the others sprint for cover. The Operator leans hard against the call button of the intercom. OPERATOR Someone's shooting at u- A round slams into the side of the Operator's head, killing him instantly, his body sinking to the deck.", "INT. THE CHAYKA - THE CAPTAIN'S CABIN - CONTINUOUS The Captain stands, checks the chamber of the LUGER PISTOL at his side, and heads for the door. CAPTAIN Until you hear otherwise... stay. The Captain exits the cabin and slams the door behind him. Trembling, Iosef latches close the door...... and pours himself a tall drink.", "EXT. A CRANE - CONTINUOUS A SNIPER searches the yard through his scope, his earpiece overwhelmed by panicked chatter. SNIPER This is Alpha. I don't- TINK! Across the way, another sniper tumbles off his perch... TINK! ... as does another... TINK! ... and another... SNIPER -LRB- CONT'D -RRB- Where the fuck is he? TINK! ... and another... The sniper searches, his skin wet with perspiration, hand trembling upon the stock. TINK! ... and another, screaming as he falls... SNIPER -LRB- CONT'D -RRB- WHERE THE FUCK... -LRB- TRAILING OFF -RRB- The Sniper has found John... SNIPER -LRB- CONT'D -RRB- The old cannery. Southeast of my position. ... but it is too late. WE ZOOM THROUGH HIS SCOPE...... ACROSS THE YARD...... AND INTO THE CANNERY WHERE JOHN LIES ON THE FLOOR WITH A SNIPER RIFLE TO HIS SHOULDER. JOHN FIRES...... AND WE FOLLOW THE BULLET BACK UP TOWARDS THE SNIPER'S PERCH...... WHERE IT ENTERS THE SNIPER'S SCOPE...... AND PUNCHES THROUGH THE BACK OF HIS HEAD. His body goes limp...... and slides out of his perch, cart-wheeling down to the earth below.", "EXT. THE SHIPYARD - NIGHT EIGHT HEAVILY-ARMORED SUV's bear down on the old cannery building.", "INT. THE CANNERY - THE TOP FLOOR - CONTINUOUS John shifts position, aims, and fires-", "EXT. THE SHIPYARD - CONTINUOUS -but the round ricochets off the bulletproof window.", "INT. THE CANNERY - THE TOP FLOOR - CONTINUOUS John ejects the clip, ejects a round, leans the weapon against the window, and sinks back into the darkness.", "INT. THE CANNERY - THE MAIN FLOOR - CONTINUOUS The parade of SUVs enter the cannery, their tires screeching to a stop as a swarm of highly-trained gunmen emerge, scattering throughout the building.", "INT. THE CANNERY - THE TOP FLOOR - CONTINUOUS John pries open the doors of an old, wooden, elevator shaft : now an empty cavern disappearing down into darkness.", "INT. THE CANNERY - THE TOP FLOOR - A HALLWAY - CONTINUOUS A pair of gunmen swiftly close in on John...", "INT. THE CANNERY - THE TOP FLOOR - ELEVATOR - CONTINUOUS ... who takes a deep breath...... and jumps- -bullets riddling the doors behind him- -disappearing down into the darkness-", "INT. BENEATH THE CANNERY - CONTINUOUS -his body SLAPPING against the water as he sinks like a stone.", "INT. THE CANNERY - THE MAIN FLOOR - CONTINUOUS A gunmen rounds a corner...... stepping over the empty duffel bag we last saw in John's trunk...... and freezes, his eyes wide. HIS POV : A brick of C-4 is attached to one of the main support beams, the pale red light of the detonator glowing with ominous disdain. He takes a step back, lowering his weapon, and glances about...... noticing for the first time the RED LIGHTS of a DOZEN OR MORE C-4 charges scattered throughout the interior. GUNMEN RUN!", "INT. BENEATH THE CANNERY - CONTINUOUS Underwater, John lifts his hand...... to reveal a REMOTE DETONATER...... which he depresses with his thumb.", "INT. THE CANNERY - THE MAIN FLOOR - CONTINUOUS The gunman goes pale at the sight of all of those red lights... turning green.", "EXT. THE SHIPYARD - CONTINUOUS A series of powerful explosion tear through the building, reducing it to splinters as it collapses in upon itself.", "INT. BENEATH THE CANNERY - CONTINUOUS As debris begins to sink down all around him, John swims as hard as he can. Surfacing when he is safe, gasping for breath. Finding a ladder, John climbs upwards-", "EXT. THE DOCK - CONTINUOUS -emerging from behind an access panel. John turns towards the ship and moves at a steady pace, eyes roving.", "EXT. THE CHAYKA - THE DECK - NIGHT Surrounded by crewmen and security personnel, the Captain watches the explosion, his eyes wide. CAPTAIN My... God. CREWMAN #1 What do we do? CAPTAIN I- POP! POP! POP! POP! The sound of a pistol echoes up past them. CREWMAN Captain... he's coming.", "EXT. THE DOCK - THE CHAYKA - CONTINUOUS With his pistol held in both hands -soaked to the bone- John strides towards the boat's entryway, dropping five guards with two perfectly-placed shots apiece. He ejects the spent clips, slaps in a replacement, drops to a knee, and fires off six shots at the two gunmen as they round the corner, dead before they hit the ground. John drops his pistol, retrieves a submachine gun off a dead guard, unfolds the stock, presses it to his shoulder, and enters the ship.", "INT. THE CHAYKA - THE CAPTAIN'S CABIN - NIGHT With a trembling hand, Iosef pours himself a drink, staring at the door...... from behind which is heard the sound of sheer, unadulterated chaos : gunfire, screams, and explosions. Silence. THUM! THUM! THUM! CAPTAIN -LRB- O.S. -RRB- Open the door, goddammit! Iosef drops his glass, and unlatches the door. The Captain stumbles into the room, leaning heavy against his desk, pausing to take a swig of whisky, blood trickling down from his forehead, his left arm limp at his side. The Captain reloads, reaches into his drawer, finds a snub- nosed.38, and tosses it to Iosef. CAPTAIN -LRB- CONT'D -RRB- Do you know how to use that? IOSEF Yes, sir. CAPTAIN Good. Follow me. And if you shoot me in the back, I'll be the one to fuckin' kill you. The Captain swings open the door, and -with his pistol in both hands- enters-", "INT. THE CHAYKA - A CORRIDOR - CONTINUOUS -bodies lay everywhere. Gunshots ring out. A number of panicking crewmen flee the ship. Iosef stays close to the Captain, his sweaty hands clinging to the pistol. As the Captain rounds the corner- -COMMOTION- -as he and John collide. SLOW MOTION...... as John looks past the Captain, his eyes locking onto Iosef...... who -panicking- raises his pistol, and FIRES- BACK TO SCENE -hitting the Captain in the shoulder. CAPTAIN You piece of shit, motherfucker! Iosef turns and flees...... as the Captain and John disarm one another. The Captain roars -in pain and anger- driving a fist into John's side, breaking ribs. He follows through with a wild left, but John avoids it, slapping it aside, the Captain's forward momentum sending his fist to SHATTER again the iron wall of his ship. The Captain howls, wrapping his arms around John, crushing him...... and as consciousness begins to fade...... John's teeth close around the captain's nose, cleaving it from his face. Stunned, the Captain releases John who kicks out his knee, moves behind him, wraps his arms around the wounded man's head, and SNAPS his neck.", "EXT. THE CHAYKA - THE DECK - CONTINUOUS Iosef emerges from the lower deck, firing back into the darkness as tears roll down his face. A beat...... and John emerges, the very visage of death : his chest etched with bullet wounds, blood trickling down his face, wet, dirty, wounded, pale, and yet...... unstoppable. John moves at a steady pace, the gun in his hand at his side, arm limp. Iosef sprints towards the far end of the ship, and climbs up the ladder towards the pilothouse. John follows.", "INT. THE CHAYKA - THE PILOTHOUSE - CONTINUOUS Overlooking the entire ship's deck, the pilothouse offers little in the way of escape. Instead, Iosef now finds himself trapped. He searches the desk and finds a LETTER OPENER which he yields like a knife, turning...... as John enters the room. Silence. IOSEF Well, come on, muthafucka! LET'S DANCE! YOU AND ME! A beat... and John raises the pistol, and fires off his last round, punching a hole in the glass. Iosef grins, laughing as John drops his weapon. IOSEF -LRB- CONT'D -RRB- You missed, bitch! JOHN No. I did n't. John surges into Iosef...... whose hand comes down with the letter opener. John catches his wrist, and snaps it as his right hand darts up, constricts around Iosef's jaw, cracking it in two...... lifting him from with the ground... JOHN -LRB- CONT'D -RRB- -LRB- GROWLS -RRB- For Moose. ... and hurling him through the pane of glass which EXPLODES. SCREAMING, Iosef tumbles end over end, his body slamming into chute from which grain continues to pour, the hull close to full. Iosef cartwheels over it and lands half-in/half-out of the hull, SNAPPING his back, as around him...... grain piles higher...... as he sinks. IOSEF NO! HELP ME! NO! N... -LRB- FADING -RRB- While his legs remain on deck, his upper torso sinks slightly, the grain covering his face, muting his screams...... as he suffocates to death.", "INT. THE CHAYKA - THE PILOTHOUSE - CONTINUOUS John stares down at him for a long moment, turns...... and leaves. FADE TO :", "EXT. A CITY STREET - ESTABLISHING - NIGHT Silence as a soft snow begins to fall. A beat...... and a sedan rounds the corner, takes it too wide, and crashes.", "INT. A SEDAN - CONTINUOUS Perched behind the wheel with his head down, John groans, leaning back as snow wafts through the door's broken side window.", "EXT. A STREET - CONTINUOUS John pulls himself out of the vehicle, stumbles a few feet, ENTERS-", "EXT. AN ALLEY - CONTINUOUS -leans heavy against the wall, and slides into a sitting position. John Wick looks to be on death's very doorstep....... however...... death will not take him. With an almost frustrated/irritated groan John pulls himself to his feet, and staggers down the alley.", "INT. A VETERINARIAN'S OFFICE - NIGHT Small, simple, and clean. A beat... and an elbow is driven through the door's window. John reaches in, unlocks the door, opens it, enters, and closes it behind him.", "INT. A VETERINARIAN'S OFFICE - A SUPPLY CLOSET - NIGHT John grabs an empty box and begins filling it with instruments, medication, bandages, and the like.", "INT. A VETERINARIAN'S OFFICE - THE BACK ROOM - NIGHT John enters to find an empty room...... save a single YOUNG DOG -a mutt of no distinguishable breed, three years old- who sits staring at him, offering little more than a tilt of its head. John strips and -using the hose attachment- rinses his body clean : the damage is extensive with cuts, bruises, and three bullet holes ( one in his shoulder, one his side, and one in his chest ). John studies the bullet wounds. JOHN -LRB- MUTTERS -RRB- Through and through... through and through... However when he gets to the one in his chest- JOHN -LRB- CONT'D -RRB- Buried deep. -LRB- SIGHS -RRB- Fuck. John swallows a handful of pills, clenches his teeth, and - using a pair of needle nose pliers- reaches into the wound, searching...... until he finds the bullet which he pulls free. John cleans the wounds with disinfectant, applies a number of pads/bandages, and studies himself in the mirror : he is a complete and total wreck... but alive.", "INT. A VETERINARIAN'S OFFICE - THE SUPPLY CLOSET - NIGHT Searching, John finds some surgical garb ; thin pants and a shirt which he slips into.", "INT. A VETERINARIAN'S OFFICE - THE BACK ROOM - NIGHT John takes a jacket off of the rack, tries it on -too small- moves on to the second one, and it fits. John flicks off the light, and leaves the room. A long beat...... and John returns, turning the light back on. From across the room, he stares at the young dog, studying it. The dog makes no sound, tilting it's head from side to side. A beat... and John walks to the cage, removing the clipboard from its side, reading it : we can see that the dog is scheduled to be put down tomorrow. JOHN Miko, huh? Miko replies with a tilt of her head- JOHN -LRB- CONT'D -RRB- That's quite the name. -and a paw pressed to the side of the cage. John smiles, places the clipboard on top of the cage, and opens its door. Miko does n't move. JOHN -LRB- CONT'D -RRB- Are you coming or not? A beat... and Miko leaps down onto the floor, tail wagging. JOHN -LRB- CONT'D -RRB- That's what I thought. John takes a leash off of the wall, and clips it to Miko's collar. JOHN -LRB- CONT'D -RRB- Come on. Let's go home.", "EXT. AN ALLEY - NIGHT John and Miko emerge from the Veterinarian's Office and walk out into the snow...... disappearing into the night. FADE TO :", "EXT. THE CONTINENTAL - ESTABLISHING - NIGHT INT. THE CONTINENTAL - THE KITCHEN - CONTINUOUS With his arm in a cast, DAVID makes his way through the kitchen, his expensive suit freshly pressed.", "INT. THE CONTINENTAL - THE KITCHEN - DRY STORAGE - NIGHT David enters dry storage, makes his way to the back, and walks down the staircase.", "INT. THE CONTINENTAL - THE SUB-BASEMENT - NIGHT As he approaches the door, he searches his pocket for a gold coin, finding one. He slips it into the slit in the door. A long beat...... and down below, it clatters out into a small receptacle. WINSTON -LRB- O.S. -RRB- Mr. Perkins... ... over his shoulder, we see Winston emerge from the shadows behind him, a silenced-pistol held steady in his hand. WINSTON -LRB- CONT'D -RRB-... your membership to the Continental has been -by thine own hand- revoked. THUMP! THUMP! CUT TO : BLACK Silence. The sound of a key slipped into an ignition. It turns, the engine roaring to life, tires squealing. FADE IN :", "EXT. AN ABANDONED AIRFIELD - DAY The sleek, clean, black as night, 1969 Ford Mustang ` Boss 429' sprints down the tarmac as inside...", "INT. THE MUSTANG - CONTINUOUS ... Miko holds her head out of the open window, her eyes narrowed, mouth open, and tongue flapping in the wind. John smiles, reaches over, and scratches her on the back. JOHN Good girl, Miko... good girl.", "EXT. AN ABANDONED AIRFIELD - CONTINUOUS The Mustang charges off into the distance. FADE OUT :" ]

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